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"content": "\u003cp>I listened to more than 120 albums released by California jazz artists in 2014 (and around another five dozen representing other styles and traditions), and there’s been no shortage of memorable music. Looking back over the year, what’s most impressive is the number of musicians seeking to expand their expressive capabilities while burrowing into well-established forms or pushing at jazz’s already blurred borders.\u003c/p>\n\u003cp>These are my 10 favorite California jazz releases this year, in alphabetical order. 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It’s a journey that wouldn’t be possible without her supple American Dreams Band, with saxophonist Sheldon Brown, pianist Matt Clark, guitarist Dave MacNab, bassist John Shifflett, and drummer Jason Lewis.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-10239227\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/WilBlades.jpg\" alt=\"Wil Blades\" width=\"400\" height=\"400\">\n\u003ch3>Wil Blades – \u003cem>Field Notes\u003c/em>\u003c/h3>\n\u003ch5>(Royal Potato Family)\u003c/h5>\n\u003cp>Berkeley Hammond B-3 organist Wil Blades gets his groove on with his fierce and inventive trio featuring guitarist Jeff Parker and drummer Simon Lott. Lithe and earthy, Blades’ shack-shaking music never strays far from its dance-inducing roots, though he’s adept at slipping piquant new vintages into familiar bottles.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-10239227\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/BillyChilds.jpg\" alt=\"Billy Childs\" width=\"400\" height=\"400\">\n\u003ch3>Billy Childs – \u003cem>Map to the Treasure: Reimagining Laura Nyro\u003c/em>*\u003c/h3>\n\u003ch5>(Sony Masterworks)\u003c/h5>\n\u003cp>Hands down my favorite album of the year, this passionate love letter to the late singer/songwriter Laura Nyro from Los Angeles pianist/arranger Billy Childs is a spectacularly ambitious project that succeeds on every level — particularly casting. From Renée Fleming and Yo-Yo Ma’s magnificent “New York Tendaberry” and Ledisi’s “Stoned Soul Picnic” to Shawn Colvin and Chris Botti’s “Save the Country” and Alison Krauss and Jerry Douglas’ killer closer “When I Die,” Childs’ beautifully wrought arrangements feature consistently inspired matches of songs, singers, and instrumentalists.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-10239227\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/CrossingBorders.jpg\" alt=\"Crossing Borders\" width=\"400\" height=\"400\">\n\u003ch3>Crossing Borders – \u003cem>Mess Around\u003c/em>\u003c/h3>\n\u003ch5>(RenJenStromKin)\u003c/h5>\n\u003cp>Combining three South Bay stalwarts—saxophonist Kristen Strom, guitarist Scott Sorkin and drummer Jason Lewis—with two British Columbia mainstays in the form of vocalist/pianist Jennifer Scott and bassist Rene Worst, “crossing borders” describes the band’s stylistic proclivities as aptly as its bi-national membership. A working ensemble that’s honed material designed to showcase burnished lyricism, subtle interplay and supple phrasing, the band has a compelling cohesion which might flow from featuring two married couples (Lewis is the odd man out).\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-10239227\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/Hofmann.jpg\" alt=\"Holly Hofmann\" width=\"400\" height=\"400\">\n\u003ch3>Holly Hofmann – \u003cem>Low Life: The Alto Flute Project\u003c/em>\u003c/h3>\n\u003ch5>(Capri Records)\u003c/h5>\n\u003cp>Long recognized as one of jazz’s premier flutists, San Diegan Holly Hofmann devotes an entire album to the lustrous alto flute, an appealing instrument with a fatter tone and lower register than the far more familiar C flute. Working with her husband, the brilliant pianist Mike Wofford, and an all-star rhythm section of bassist John Clayton, drummer Jeff Hamilton, and guitarist Anthony Wilson, she mostly focuses on strong contemporary material by the likes of Mulgrew Miller, Pat Metheny and her bandmates.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-10239227\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/AzarLawrence.jpg\" alt=\"Azar Lawrence\" width=\"400\" height=\"400\">\n\u003ch3>Azar Lawrence – \u003cem>The Seeker\u003c/em>\u003c/h3>\n\u003ch5>(Sunnyside)\u003c/h5>\n\u003cp>Well into his career’s welcome and impressive second act, tenor and soprano saxophonist Azar Lawrence has returned to the prodigious form of the early 1970s, when he kept company with powerhouse masters like McCoy Tyner, Woody Shaw and Elvin Jones. His fourth release since his revival, \u003cem>The Seeker\u003c/em> hurls him back into a spiritual quest accompanied by hi-octane players like trumpeter Nicholas Payton, bassist Essiet Okun Essiet, drummer Jeff “Tain” Watts, and Venezuelan pianist Benito Gonzalez, a rising star to watch.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-10239227\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/Hafez.jpg\" alt=\"Hafez Modirzadeh\" width=\"400\" height=\"400\">\n\u003ch3>Hafez Modirzadeh – \u003cem>In Convergence Liberation\u003c/em>\u003c/h3>\n\u003ch5>(Pi Recordings)\u003c/h5>\n\u003cp>An undersung Bay Area treasure, saxophonist/composer Hafez Modirzadeh is an artist who reveals unexpected connections between notes, scales and entire traditions. With three disparate suites, this dauntingly ambitious project features the adventurous string quartet Ethel and a host of singular improvisers, including Iraqi-American trumpeter Amir ElSaffar and vocalist Mili Bermejo, who combines a deep knowledge of jazz with Mexican and Argentine song.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-10239227\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/MichaelOneill.jpg\" alt=\"Michael O'Neill\" width=\"400\" height=\"400\">\n\u003ch3>Michael O’Neill & Kenny Washington – \u003cem>New Beginnings\u003c/em>\u003c/h3>\n\u003ch5>(Jazzmo Records)\u003c/h5>\n\u003cp>Quite simply the most exciting male vocalist in jazz, Oakland-based Kenny Washington has collaborated fruitfully over the past decade with saxophonist/arranger Michael O’Neill, who leads a top-shelf band here with trumpeter Erik Jekabson, bassist Dan Feiszli, drummer Alan Hall, and special guest pianist Geoffrey Keezer. With well-worn standards like “Stella By Starlight” and “Fly Me to the Moon,” the program might look unadventurous, but O’Neill creates wondrous settings in which the supremely soulful Washington can soar.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-10239227\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/DennyZeitlin.jpg\" alt=\"Denny Zeitlin\" width=\"400\" height=\"400\">\n\u003ch3>Denny Zeitlin – \u003cem>Stairway to the Stars\u003c/em>\u003c/h3>\n\u003ch5>(Sunnyside)\u003c/h5>\n\u003cp>The inimitable Bay Area pianist Denny Zeitlin and his East Coast bandmates Buster Williams (bass) and Matt Wilson (drums) have recorded several superlative albums together, but this release goes back to the beginning, capturing the birth of one of the 21st century’s most rewarding trios. Recorded at the Jazz Bakery in 2001 — the band’s first club date — the 10 exuberant, joyful tracks alternate between rhapsodic discovery and headlong, ferociously swinging jaunts.\u003c/p>\u003c/div>\n\u003ch4>Another 10 Highly Recommended Albums:\u003c/h4>\n\u003cp>\u003cstrong>Bristle\u003c/strong> – \u003cem>Future(s) Now(s)\u003c/em> (Queen Bee)\u003cbr>\n\u003cstrong>Jeff Denson & Joshua White\u003c/strong> – \u003cem>I’ll Fly Away\u003c/em> (pfMentum)*\u003cbr>\n\u003cstrong>Bobby Hutcherson\u003c/strong> – \u003cem>Enjoy the View\u003c/em> (Blue Note)\u003cbr>\n\u003cstrong>Erik Jekabson Quartet plus John Santos\u003c/strong> – \u003cem>Live at the Hillside Club\u003c/em> (Jekab’s Music)\u003cbr>\n\u003cstrong>The L.A. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I listened to more than 120 albums released by California jazz artists in 2014 (and around another five dozen representing other styles and traditions), and there’s been no shortage of memorable music. Looking back over the year, what’s most impressive is the number of musicians seeking to expand their expressive capabilities while burrowing into well-established forms or pushing at jazz’s already blurred borders.\u003c/p>\n\u003cp>These are my 10 favorite California jazz releases this year, in alphabetical order. 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With settings for string quartet and special guests like folk/jazz vocalist Becca Stevens and Canadian singer/songwriter Cold Speck, \u003cem>The Imagined Savior\u003c/em> contains a multitude of sonic moods while never feeling fractured or disjointed.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-10239227\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/LaurieAntonioli.jpg\" alt=\"Laurie Antonioli\" width=\"400\" height=\"400\">\n\u003ch3>Laurie Antonioli – \u003cem>Songs of Shadow, Songs of Light\u003c/em>\u003c/h3>\n\u003ch5>(Origin)\u003c/h5>\n\u003cp>Several of Joni Mitchell’s songs are firmly established in the jazz repertoire, but no singer before Bay Area veteran Laurie Antonioli has wrought as fine a balance between the original sources and her own vivid emotional and improvisational palette. It’s a journey that wouldn’t be possible without her supple American Dreams Band, with saxophonist Sheldon Brown, pianist Matt Clark, guitarist Dave MacNab, bassist John Shifflett, and drummer Jason Lewis.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-10239227\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/WilBlades.jpg\" alt=\"Wil Blades\" width=\"400\" height=\"400\">\n\u003ch3>Wil Blades – \u003cem>Field Notes\u003c/em>\u003c/h3>\n\u003ch5>(Royal Potato Family)\u003c/h5>\n\u003cp>Berkeley Hammond B-3 organist Wil Blades gets his groove on with his fierce and inventive trio featuring guitarist Jeff Parker and drummer Simon Lott. Lithe and earthy, Blades’ shack-shaking music never strays far from its dance-inducing roots, though he’s adept at slipping piquant new vintages into familiar bottles.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-10239227\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/BillyChilds.jpg\" alt=\"Billy Childs\" width=\"400\" height=\"400\">\n\u003ch3>Billy Childs – \u003cem>Map to the Treasure: Reimagining Laura Nyro\u003c/em>*\u003c/h3>\n\u003ch5>(Sony Masterworks)\u003c/h5>\n\u003cp>Hands down my favorite album of the year, this passionate love letter to the late singer/songwriter Laura Nyro from Los Angeles pianist/arranger Billy Childs is a spectacularly ambitious project that succeeds on every level — particularly casting. From Renée Fleming and Yo-Yo Ma’s magnificent “New York Tendaberry” and Ledisi’s “Stoned Soul Picnic” to Shawn Colvin and Chris Botti’s “Save the Country” and Alison Krauss and Jerry Douglas’ killer closer “When I Die,” Childs’ beautifully wrought arrangements feature consistently inspired matches of songs, singers, and instrumentalists.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-10239227\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/CrossingBorders.jpg\" alt=\"Crossing Borders\" width=\"400\" height=\"400\">\n\u003ch3>Crossing Borders – \u003cem>Mess Around\u003c/em>\u003c/h3>\n\u003ch5>(RenJenStromKin)\u003c/h5>\n\u003cp>Combining three South Bay stalwarts—saxophonist Kristen Strom, guitarist Scott Sorkin and drummer Jason Lewis—with two British Columbia mainstays in the form of vocalist/pianist Jennifer Scott and bassist Rene Worst, “crossing borders” describes the band’s stylistic proclivities as aptly as its bi-national membership. A working ensemble that’s honed material designed to showcase burnished lyricism, subtle interplay and supple phrasing, the band has a compelling cohesion which might flow from featuring two married couples (Lewis is the odd man out).\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-10239227\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/Hofmann.jpg\" alt=\"Holly Hofmann\" width=\"400\" height=\"400\">\n\u003ch3>Holly Hofmann – \u003cem>Low Life: The Alto Flute Project\u003c/em>\u003c/h3>\n\u003ch5>(Capri Records)\u003c/h5>\n\u003cp>Long recognized as one of jazz’s premier flutists, San Diegan Holly Hofmann devotes an entire album to the lustrous alto flute, an appealing instrument with a fatter tone and lower register than the far more familiar C flute. Working with her husband, the brilliant pianist Mike Wofford, and an all-star rhythm section of bassist John Clayton, drummer Jeff Hamilton, and guitarist Anthony Wilson, she mostly focuses on strong contemporary material by the likes of Mulgrew Miller, Pat Metheny and her bandmates.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-10239227\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/AzarLawrence.jpg\" alt=\"Azar Lawrence\" width=\"400\" height=\"400\">\n\u003ch3>Azar Lawrence – \u003cem>The Seeker\u003c/em>\u003c/h3>\n\u003ch5>(Sunnyside)\u003c/h5>\n\u003cp>Well into his career’s welcome and impressive second act, tenor and soprano saxophonist Azar Lawrence has returned to the prodigious form of the early 1970s, when he kept company with powerhouse masters like McCoy Tyner, Woody Shaw and Elvin Jones. His fourth release since his revival, \u003cem>The Seeker\u003c/em> hurls him back into a spiritual quest accompanied by hi-octane players like trumpeter Nicholas Payton, bassist Essiet Okun Essiet, drummer Jeff “Tain” Watts, and Venezuelan pianist Benito Gonzalez, a rising star to watch.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-10239227\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/Hafez.jpg\" alt=\"Hafez Modirzadeh\" width=\"400\" height=\"400\">\n\u003ch3>Hafez Modirzadeh – \u003cem>In Convergence Liberation\u003c/em>\u003c/h3>\n\u003ch5>(Pi Recordings)\u003c/h5>\n\u003cp>An undersung Bay Area treasure, saxophonist/composer Hafez Modirzadeh is an artist who reveals unexpected connections between notes, scales and entire traditions. With three disparate suites, this dauntingly ambitious project features the adventurous string quartet Ethel and a host of singular improvisers, including Iraqi-American trumpeter Amir ElSaffar and vocalist Mili Bermejo, who combines a deep knowledge of jazz with Mexican and Argentine song.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-10239227\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/MichaelOneill.jpg\" alt=\"Michael O'Neill\" width=\"400\" height=\"400\">\n\u003ch3>Michael O’Neill & Kenny Washington – \u003cem>New Beginnings\u003c/em>\u003c/h3>\n\u003ch5>(Jazzmo Records)\u003c/h5>\n\u003cp>Quite simply the most exciting male vocalist in jazz, Oakland-based Kenny Washington has collaborated fruitfully over the past decade with saxophonist/arranger Michael O’Neill, who leads a top-shelf band here with trumpeter Erik Jekabson, bassist Dan Feiszli, drummer Alan Hall, and special guest pianist Geoffrey Keezer. With well-worn standards like “Stella By Starlight” and “Fly Me to the Moon,” the program might look unadventurous, but O’Neill creates wondrous settings in which the supremely soulful Washington can soar.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-10239227\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/DennyZeitlin.jpg\" alt=\"Denny Zeitlin\" width=\"400\" height=\"400\">\n\u003ch3>Denny Zeitlin – \u003cem>Stairway to the Stars\u003c/em>\u003c/h3>\n\u003ch5>(Sunnyside)\u003c/h5>\n\u003cp>The inimitable Bay Area pianist Denny Zeitlin and his East Coast bandmates Buster Williams (bass) and Matt Wilson (drums) have recorded several superlative albums together, but this release goes back to the beginning, capturing the birth of one of the 21st century’s most rewarding trios. Recorded at the Jazz Bakery in 2001 — the band’s first club date — the 10 exuberant, joyful tracks alternate between rhapsodic discovery and headlong, ferociously swinging jaunts.\u003c/p>\u003c/div>\n\u003ch4>Another 10 Highly Recommended Albums:\u003c/h4>\n\u003cp>\u003cstrong>Bristle\u003c/strong> – \u003cem>Future(s) Now(s)\u003c/em> (Queen Bee)\u003cbr>\n\u003cstrong>Jeff Denson & Joshua White\u003c/strong> – \u003cem>I’ll Fly Away\u003c/em> (pfMentum)*\u003cbr>\n\u003cstrong>Bobby Hutcherson\u003c/strong> – \u003cem>Enjoy the View\u003c/em> (Blue Note)\u003cbr>\n\u003cstrong>Erik Jekabson Quartet plus John Santos\u003c/strong> – \u003cem>Live at the Hillside Club\u003c/em> (Jekab’s Music)\u003cbr>\n\u003cstrong>The L.A. Treasures Project\u003c/strong> – \u003cem>Live at Alvas Showroom\u003c/em> (Capri Records)\u003cbr>\n\u003cstrong>Mo’Fone\u003c/strong> – \u003cem>‘Fonology\u003c/em> (Evander Music)\u003cbr>\n\u003cstrong>Joshua Redman\u003c/strong> – \u003cem>Trios Live\u003c/em> (Nonesuch)\u003cbr>\n\u003cstrong>Wadada Leo Smith\u003c/strong> – \u003cem>The Great Lakes Suite\u003c/em> (TUM)\u003cbr>\n\u003cstrong>Tierney Sutton\u003c/strong> – \u003cem>Paris Sessions\u003c/em> (BFM Jazz)\u003cbr>\n\u003cstrong>Harvey Wainapel\u003c/strong> – \u003cem>Amigos Brasileiros Vol. 2\u003c/em> (Jazzmission Records)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Blowin' Heat: Maceo Parker On James Brown, 'Get On Up,' Ferguson, and Musical Unity",
"headTitle": "Blowin’ Heat: Maceo Parker On James Brown, ‘Get On Up,’ Ferguson, and Musical Unity | KQED",
"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/maceo-parker/\">Event Information\u003c/a>\u003c/h3>\n\u003ch4>Maceo Parker\u003c/h4>\n\u003cdiv class=\"event-desc\">Saxophone great lays down the funk.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Dec. 31, 2014-Jan. 3, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">SFJAZZ Center\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/maceo-parker/\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>As key player and music director for James Brown’s band in its heyday, Maceo Parker’s influence on modern music is immeasurable. The stamp of Parker’s sound – the revolutionary way he transformed his horn into a percussion instrument – is embedded in the music of Bruno Mars, Kanye West, Meaghan Trainor, Justin Timberlake and countless others. When Prince needs a sax player, who does he call? You guessed it: Maceo.\u003c/p>\n\u003cp>Before his shows at the SFJAZZ Center this week, I caught up with Parker, now 71, on the phone from his hometown of Kinston, North Carolina. In tracing the sound he calls “2% jazz, 98% funky stuff” (incidentally, his autobiography \u003cem>\u003ca href=\"http://www.chicagoreviewpress.com/98--funky-stuff-products-9781613743461.php?page_id=21\" target=\"_blank\" rel=\"noopener\">98% Funky Stuff\u003c/a>\u003c/em> is an excellent read), it only made sense to start with Parker’s fateful first encounter with the Godfather of Soul.\u003c/p>\n\u003cp>– \u003c/p>\n\u003cp>\u003cstrong>There’s a great passage in your book about meeting James Brown for the first time. How nervous were you standing there in the parking lot of the Greensboro Coliseum, when your brother Melvin asked James if you could have a job?\u003c/strong>\u003c/p>\n\u003cp>Not nervous at all. Because I knew what I had. I knew I had a talent, and it didn’t matter where I went professionally. Somehow if it hadn’t worked out with the James Brown thing, I still knew I had something, that somebody out there would hear me and would appreciate what I was doing. So no, I was never lost.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The only nervous part about it was I’m standing face-to-face with James Brown! But I still knew what I could do. The same thing if somebody was challenging me to a foot race—chances are I’m going to win, because I knew I was a fast runner.\u003c/p>\n\u003cp>\u003cstrong>And you had already backed up Marvin Gaye at that point too.\u003c/strong>\u003c/p>\n\u003cp>Yeah, and he never forgot it! He never forgot that. We were college students. I saw him about eight years later, and he remembered it.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/Maceo.SB_.jpg\" alt=\"Maceo.SB\" width=\"400\" height=\"528\" class=\"alignright size-full wp-image-10253131\">\u003cstrong>James Brown has a reputation for being a pretty unpredictable person, and your book corroborates that. Is there a particular incident with him that you can say surprised you the most?\u003c/strong>\u003c/p>\n\u003cp>Surprised me the most… You know what? This may not be what you’re looking for, but the drug use. I had sworn to myself as a high school student that if somehow I got into traveling, playing the saxophone and playing music, that drugs would not be a part of it. That was something that I really, really etched in my mind, and I promised myself that it just wouldn’t be. And when we first got there, he wasn’t doing that. But James couldn’t handle the fact that he was getting older, the footwork stuff was slowing down, and he just got into the drug abuse. Missing gigs and forgetting stuff on stage and all that. That’s what really surprised me most. Because it was so much a change from when we first met.\u003c/p>\n\u003cp>\u003cstrong>As much of a tyrant as he could sometimes be, you seemed to take pity on him, especially in the ’80s. Did you feel sorry for him at all?\u003c/strong>\u003c/p>\n\u003cp>Yeah. But especially before we even met him, he was really, really strong into his thing. I think I’ve said it before, that James Brown created the music because he had to have something to dance to. He knew he had the ability to dance, with all those splits and stuff. To me, that should have been strength enough to keep him going full steam ahead, rather than give in to the drug thing.\u003c/p>\n\u003cp>\u003cstrong>There was a movie this year about James Brown, in which you were portrayed by the actor Craig Robinson, \u003cem>Get on Up\u003c/em>. What were your thoughts on it?\u003c/strong>\u003c/p>\n\u003cp>I feel like every time they had Craig Robinson, as me, open my mouth to speak, I’m swearing, and it wasn’t like that. We didn’t swear to each other like that. When we got together and James wasn’t around, sometimes we’d just do it, but it wasn’t 100 percent. People that know me say, “Oh my God. Oh my goodness, why are you …” Every time the guy opens his mouth, he’s swearing! I wasn’t brought up like that.\u003c/p>\n\u003cp>I also happened to recently be in New York with Jack Bart, the son of Ben Bart, James’ manager. Ben Bart was played by Dan Aykroyd, and after the movie he and I was talking. He said, “Maceo, remember the funeral scene where James is throwing dirt on my dad’s casket in the ground?” I said, “Oh yeah, I remember that.” He told me the way it actually went, James didn’t even come to the funeral!\u003c/p>\n\u003cp>\u003cstrong>There’s also an argument in that movie that you have with James during rehearsal. Did that argument really happen?\u003c/strong>\u003c/p>\n\u003cp>No part of that. They felt like they wanted to write it like they did. I don’t remember ever having any argument about time signatures, because even if we thought stuff was “wrong,” we would do it anyway because it’s James Brown, if that’s what he hears. You know what I mean? “Wrong” is probably a strong word. Maybe I’ll say “different” rather than “wrong,” but it’s James Brown, and we would do it if that’s the way he hears it.\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=Vr6hOZ-OHKM&w=560&h=315]\u003c/p>\n\u003cp>\u003cstrong>You’ve talked a little bit about the emergence of hip-hop, and how you always liked the music but wished the artist would credit and compensate the original sources for samples. How have royalties from sampling been for you?\u003c/strong>\u003c/p>\n\u003cp>If anything, all of it went to James Brown. I didn’t really demand credit back then. I just felt like my hands were tied a little bit in demanding, and maybe that’s what he wanted. In fact he even released some stuff, like Maceo & the Macks, with “Soul Power ’74,” that I was not compensated for. That’s just the way it was.\u003c/p>\n\u003cp>\u003cstrong>With that in mind, how did it feel to have De La Soul get in touch with you, and want you in the studio to \u003ca href=\"https://www.youtube.com/watch?v=Svw1b--jKCE\" target=\"_blank\" rel=\"noopener\">play live on their album\u003c/a>?\u003c/strong>\u003c/p>\n\u003cp>That’s what you want! We were exploited a lot. You learn as you go and it’s the nature of how it’s done. Sometimes you’re exploited and sometimes you’re not.\u003c/p>\n\u003cp>\u003cstrong>Another person that hired you instead of sampling you is Prince, who you played with for several years. You tend to respect his privacy, and say simply that he’s genius. What did you learn from your time playing with him?\u003c/strong>\u003c/p>\n\u003cp>That I was right: he is a genius. The sensitive thing about his privacy still holds, because I promised that to him, but he is a sweetheart and a genius, and I’ll always love him. I don’t say too much about it, but I respect his wishes. From my small time that I had working with him, it was beautiful. I will always treasure those times.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/Mace.SB2_.jpg\" alt=\"Mace.SB2\" width=\"400\" height=\"317\" class=\"alignright size-full wp-image-10253135\">\u003cstrong>Your whole life has been interwoven with civil rights, from the first time you saw Ray Charles and there was a rope separating the audience, to your older brother’s work with the civil rights movement, to the show you played with James Brown in Boston after Dr. King was assassinated. We’ve got protests going on all over the country right now from the Ferguson case, and the Eric Garner case. What do you make of the aftermath of these cases?\u003c/strong>\u003c/p>\n\u003cp>I don’t like the destructive part, the “let’s burn this” and all that, but clearly there has to be something. You got to be in some protests, but peaceful protests. That’s my take on it. And this is what I think a little bit about law enforcement: First of all, you have to weigh the situation. And then, in that weighing of the situation, think, “Is this worth somebody dying?” With the law enforcement people, those with the weapons and the chokeholds and all that, is it worth perhaps somebody dying?\u003c/p>\n\u003cp>I mean, “I can’t breathe.” I can’t breathe means I can’t breathe. I know my strength. If I’m gritting my teeth, which means I’m trying to use all the strength that I have for five or six minutes or whatever it is around your neck, then I don’t care what the outcome is. I’m trying to really, really hurt somebody. It’s not like I got the guy by the shoulder or the arm or the foot. He’s got him by the neck, and he’s saying with a little voice, “I can’t breathe. I can’t breathe,” and this doesn’t matter? Come on now.\u003c/p>\n\u003cp>In the framework of police procedures and law, there’s got to be a moment of… somebody’s got to back off a little bit. Somebody got to back off a little bit from normal standard procedures. Somebody’s got to back off a little bit if it looks like whatever it is, it’s going to lead to somebody dying. Why didn’t we just come up with something where nobody dies? That’s all I’m saying.\u003c/p>\n\u003cp>\u003cstrong>After all the civil-rights advances that you participated in—it’s been 50 years since the lunch counter protest in Greensboro, where you were going to college—are you surprised that after 50 years we’re still facing the same issues?\u003c/strong>\u003c/p>\n\u003cp>A little bit. It’s hard for me to understand how people could have slavery and then go to church on Sunday and everything is cool. It’s hard for me to get past that. But that’s the way it was. And there’s lot of people in the South whose ideologies from way back then, some of it is still going on, really. It’s part of people’s character, part of their upbringing and part of their creed, part of their culture.\u003c/p>\n\u003cp>That’s why it’s so important and so rewarding to be on the stage and there’s no division, there’s no split, there’s no A-side or B-side. Everybody wins, nobody loses. That’s what is so enjoyable about entertaining. It’s just entertaining. That’s what we do.\u003c/p>\n\u003cp>\u003cstrong>It sounds like what’s most important to you is bringing people together, especially in a atmosphere right now that’s tense.\u003c/strong>\u003c/p>\n\u003cp>Yeah, exactly. I was even thinking how can musicians, how can entertainers … how can we go and diffuse some situations? Music, it just makes people’s lives better and helps them think better, and have positive thoughts. Hopefully you can get it to those who for whatever reason have negative thoughts. Sometimes they can get things to listen to and just make it better.\u003c/p>\n\u003cp>If you do come to my show, you’ll hear me say all the time throughout my performance, “We love you. We love you. We love to love. We love you.” I just like ending it that way. “On behalf of all of us, always remember, always remember: we love you.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Maceo Parker plays Dec. 31-Jan. 3 at the SFJAZZ Center in San Francisco. Interview has been condensed for length and clarity.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/maceo-parker/\">Event Information\u003c/a>\u003c/h3>\n\u003ch4>Maceo Parker\u003c/h4>\n\u003cdiv class=\"event-desc\">Saxophone great lays down the funk.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Dec. 31, 2014-Jan. 3, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">SFJAZZ Center\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/maceo-parker/\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>As key player and music director for James Brown’s band in its heyday, Maceo Parker’s influence on modern music is immeasurable. The stamp of Parker’s sound – the revolutionary way he transformed his horn into a percussion instrument – is embedded in the music of Bruno Mars, Kanye West, Meaghan Trainor, Justin Timberlake and countless others. When Prince needs a sax player, who does he call? You guessed it: Maceo.\u003c/p>\n\u003cp>Before his shows at the SFJAZZ Center this week, I caught up with Parker, now 71, on the phone from his hometown of Kinston, North Carolina. In tracing the sound he calls “2% jazz, 98% funky stuff” (incidentally, his autobiography \u003cem>\u003ca href=\"http://www.chicagoreviewpress.com/98--funky-stuff-products-9781613743461.php?page_id=21\" target=\"_blank\" rel=\"noopener\">98% Funky Stuff\u003c/a>\u003c/em> is an excellent read), it only made sense to start with Parker’s fateful first encounter with the Godfather of Soul.\u003c/p>\n\u003cp>– \u003c/p>\n\u003cp>\u003cstrong>There’s a great passage in your book about meeting James Brown for the first time. How nervous were you standing there in the parking lot of the Greensboro Coliseum, when your brother Melvin asked James if you could have a job?\u003c/strong>\u003c/p>\n\u003cp>Not nervous at all. Because I knew what I had. I knew I had a talent, and it didn’t matter where I went professionally. Somehow if it hadn’t worked out with the James Brown thing, I still knew I had something, that somebody out there would hear me and would appreciate what I was doing. So no, I was never lost.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The only nervous part about it was I’m standing face-to-face with James Brown! But I still knew what I could do. The same thing if somebody was challenging me to a foot race—chances are I’m going to win, because I knew I was a fast runner.\u003c/p>\n\u003cp>\u003cstrong>And you had already backed up Marvin Gaye at that point too.\u003c/strong>\u003c/p>\n\u003cp>Yeah, and he never forgot it! He never forgot that. We were college students. I saw him about eight years later, and he remembered it.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/Maceo.SB_.jpg\" alt=\"Maceo.SB\" width=\"400\" height=\"528\" class=\"alignright size-full wp-image-10253131\">\u003cstrong>James Brown has a reputation for being a pretty unpredictable person, and your book corroborates that. Is there a particular incident with him that you can say surprised you the most?\u003c/strong>\u003c/p>\n\u003cp>Surprised me the most… You know what? This may not be what you’re looking for, but the drug use. I had sworn to myself as a high school student that if somehow I got into traveling, playing the saxophone and playing music, that drugs would not be a part of it. That was something that I really, really etched in my mind, and I promised myself that it just wouldn’t be. And when we first got there, he wasn’t doing that. But James couldn’t handle the fact that he was getting older, the footwork stuff was slowing down, and he just got into the drug abuse. Missing gigs and forgetting stuff on stage and all that. That’s what really surprised me most. Because it was so much a change from when we first met.\u003c/p>\n\u003cp>\u003cstrong>As much of a tyrant as he could sometimes be, you seemed to take pity on him, especially in the ’80s. Did you feel sorry for him at all?\u003c/strong>\u003c/p>\n\u003cp>Yeah. But especially before we even met him, he was really, really strong into his thing. I think I’ve said it before, that James Brown created the music because he had to have something to dance to. He knew he had the ability to dance, with all those splits and stuff. To me, that should have been strength enough to keep him going full steam ahead, rather than give in to the drug thing.\u003c/p>\n\u003cp>\u003cstrong>There was a movie this year about James Brown, in which you were portrayed by the actor Craig Robinson, \u003cem>Get on Up\u003c/em>. What were your thoughts on it?\u003c/strong>\u003c/p>\n\u003cp>I feel like every time they had Craig Robinson, as me, open my mouth to speak, I’m swearing, and it wasn’t like that. We didn’t swear to each other like that. When we got together and James wasn’t around, sometimes we’d just do it, but it wasn’t 100 percent. People that know me say, “Oh my God. Oh my goodness, why are you …” Every time the guy opens his mouth, he’s swearing! I wasn’t brought up like that.\u003c/p>\n\u003cp>I also happened to recently be in New York with Jack Bart, the son of Ben Bart, James’ manager. Ben Bart was played by Dan Aykroyd, and after the movie he and I was talking. He said, “Maceo, remember the funeral scene where James is throwing dirt on my dad’s casket in the ground?” I said, “Oh yeah, I remember that.” He told me the way it actually went, James didn’t even come to the funeral!\u003c/p>\n\u003cp>\u003cstrong>There’s also an argument in that movie that you have with James during rehearsal. Did that argument really happen?\u003c/strong>\u003c/p>\n\u003cp>No part of that. They felt like they wanted to write it like they did. I don’t remember ever having any argument about time signatures, because even if we thought stuff was “wrong,” we would do it anyway because it’s James Brown, if that’s what he hears. You know what I mean? “Wrong” is probably a strong word. Maybe I’ll say “different” rather than “wrong,” but it’s James Brown, and we would do it if that’s the way he hears it.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Vr6hOZ-OHKM'\n title='//www.youtube.com/embed/Vr6hOZ-OHKM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>You’ve talked a little bit about the emergence of hip-hop, and how you always liked the music but wished the artist would credit and compensate the original sources for samples. How have royalties from sampling been for you?\u003c/strong>\u003c/p>\n\u003cp>If anything, all of it went to James Brown. I didn’t really demand credit back then. I just felt like my hands were tied a little bit in demanding, and maybe that’s what he wanted. In fact he even released some stuff, like Maceo & the Macks, with “Soul Power ’74,” that I was not compensated for. That’s just the way it was.\u003c/p>\n\u003cp>\u003cstrong>With that in mind, how did it feel to have De La Soul get in touch with you, and want you in the studio to \u003ca href=\"https://www.youtube.com/watch?v=Svw1b--jKCE\" target=\"_blank\" rel=\"noopener\">play live on their album\u003c/a>?\u003c/strong>\u003c/p>\n\u003cp>That’s what you want! We were exploited a lot. You learn as you go and it’s the nature of how it’s done. Sometimes you’re exploited and sometimes you’re not.\u003c/p>\n\u003cp>\u003cstrong>Another person that hired you instead of sampling you is Prince, who you played with for several years. You tend to respect his privacy, and say simply that he’s genius. What did you learn from your time playing with him?\u003c/strong>\u003c/p>\n\u003cp>That I was right: he is a genius. The sensitive thing about his privacy still holds, because I promised that to him, but he is a sweetheart and a genius, and I’ll always love him. I don’t say too much about it, but I respect his wishes. From my small time that I had working with him, it was beautiful. I will always treasure those times.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/Mace.SB2_.jpg\" alt=\"Mace.SB2\" width=\"400\" height=\"317\" class=\"alignright size-full wp-image-10253135\">\u003cstrong>Your whole life has been interwoven with civil rights, from the first time you saw Ray Charles and there was a rope separating the audience, to your older brother’s work with the civil rights movement, to the show you played with James Brown in Boston after Dr. King was assassinated. We’ve got protests going on all over the country right now from the Ferguson case, and the Eric Garner case. What do you make of the aftermath of these cases?\u003c/strong>\u003c/p>\n\u003cp>I don’t like the destructive part, the “let’s burn this” and all that, but clearly there has to be something. You got to be in some protests, but peaceful protests. That’s my take on it. And this is what I think a little bit about law enforcement: First of all, you have to weigh the situation. And then, in that weighing of the situation, think, “Is this worth somebody dying?” With the law enforcement people, those with the weapons and the chokeholds and all that, is it worth perhaps somebody dying?\u003c/p>\n\u003cp>I mean, “I can’t breathe.” I can’t breathe means I can’t breathe. I know my strength. If I’m gritting my teeth, which means I’m trying to use all the strength that I have for five or six minutes or whatever it is around your neck, then I don’t care what the outcome is. I’m trying to really, really hurt somebody. It’s not like I got the guy by the shoulder or the arm or the foot. He’s got him by the neck, and he’s saying with a little voice, “I can’t breathe. I can’t breathe,” and this doesn’t matter? Come on now.\u003c/p>\n\u003cp>In the framework of police procedures and law, there’s got to be a moment of… somebody’s got to back off a little bit. Somebody got to back off a little bit from normal standard procedures. Somebody’s got to back off a little bit if it looks like whatever it is, it’s going to lead to somebody dying. Why didn’t we just come up with something where nobody dies? That’s all I’m saying.\u003c/p>\n\u003cp>\u003cstrong>After all the civil-rights advances that you participated in—it’s been 50 years since the lunch counter protest in Greensboro, where you were going to college—are you surprised that after 50 years we’re still facing the same issues?\u003c/strong>\u003c/p>\n\u003cp>A little bit. It’s hard for me to understand how people could have slavery and then go to church on Sunday and everything is cool. It’s hard for me to get past that. But that’s the way it was. And there’s lot of people in the South whose ideologies from way back then, some of it is still going on, really. It’s part of people’s character, part of their upbringing and part of their creed, part of their culture.\u003c/p>\n\u003cp>That’s why it’s so important and so rewarding to be on the stage and there’s no division, there’s no split, there’s no A-side or B-side. Everybody wins, nobody loses. That’s what is so enjoyable about entertaining. It’s just entertaining. That’s what we do.\u003c/p>\n\u003cp>\u003cstrong>It sounds like what’s most important to you is bringing people together, especially in a atmosphere right now that’s tense.\u003c/strong>\u003c/p>\n\u003cp>Yeah, exactly. I was even thinking how can musicians, how can entertainers … how can we go and diffuse some situations? Music, it just makes people’s lives better and helps them think better, and have positive thoughts. Hopefully you can get it to those who for whatever reason have negative thoughts. Sometimes they can get things to listen to and just make it better.\u003c/p>\n\u003cp>If you do come to my show, you’ll hear me say all the time throughout my performance, “We love you. We love you. We love to love. We love you.” I just like ending it that way. “On behalf of all of us, always remember, always remember: we love you.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Above:\u003ca href=\"http://ensemblemiknawooj.com/\"> Ensemble Mik Nawooj\u003c/a> (EMN), led by music director, composer/pianist JooWan Kim, reinterprets \u003ca href=\"http://www.wutang-corp.com/artists/wu-tang-clan.php\">Wu-Tang Clan\u003c/a>’s “C.R.E.A.M.” at \u003ca href=\"http://www.ybca.org/classick-hip-hop\">YBCA’s \u003cem>Clas/Sick Hip Hop: 1993 Edition.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/joowan.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-10238602\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/joowan.png\" alt=\"joowan\" width=\"683\" height=\"352\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/joowan.png 683w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/joowan-400x206.png 400w\" sizes=\"(max-width: 683px) 100vw, 683px\">\u003c/a>Ensemble Mik Nawooj (EMN) is the brainchild of composer/pianist JooWan Kim, who introduces western-European classical techniques into hip-hop, rock, and pop. The group’s lineup includes traditional Pierrot ensemble instrumentation (flute, clarinet, violin, cello and piano) with a lyric soprano, deep funk drums, a heavy contrabass and two featured MCs. Kim is a classically trained composer who holds degrees from \u003ca href=\"http://www.berklee.edu/\">Berklee College of Music\u003c/a> and \u003ca href=\"http://www.sfcm.edu/\">San Francisco Conservatory of Music\u003c/a>.\u003c/p>\n\u003cp>\u003cem>“Nobody has ever attempted anything like this on such a large scale, or with such sophistication.”\u003c/em> – NPR\u003c/p>\n\u003cp>From the same evening, watch the \u003ca href=\"http://kevchoice.wordpress.com/\">Kev Choice Ensemble\u003c/a> perform Saafir’s “Light Sleeper”:\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=TFJcIEQFByM&w=560&h=315]\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Above:\u003ca href=\"http://ensemblemiknawooj.com/\"> Ensemble Mik Nawooj\u003c/a> (EMN), led by music director, composer/pianist JooWan Kim, reinterprets \u003ca href=\"http://www.wutang-corp.com/artists/wu-tang-clan.php\">Wu-Tang Clan\u003c/a>’s “C.R.E.A.M.” at \u003ca href=\"http://www.ybca.org/classick-hip-hop\">YBCA’s \u003cem>Clas/Sick Hip Hop: 1993 Edition.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/joowan.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-10238602\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/joowan.png\" alt=\"joowan\" width=\"683\" height=\"352\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/joowan.png 683w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/joowan-400x206.png 400w\" sizes=\"(max-width: 683px) 100vw, 683px\">\u003c/a>Ensemble Mik Nawooj (EMN) is the brainchild of composer/pianist JooWan Kim, who introduces western-European classical techniques into hip-hop, rock, and pop. The group’s lineup includes traditional Pierrot ensemble instrumentation (flute, clarinet, violin, cello and piano) with a lyric soprano, deep funk drums, a heavy contrabass and two featured MCs. Kim is a classically trained composer who holds degrees from \u003ca href=\"http://www.berklee.edu/\">Berklee College of Music\u003c/a> and \u003ca href=\"http://www.sfcm.edu/\">San Francisco Conservatory of Music\u003c/a>.\u003c/p>\n\u003cp>\u003cem>“Nobody has ever attempted anything like this on such a large scale, or with such sophistication.”\u003c/em> – NPR\u003c/p>\n\u003cp>From the same evening, watch the \u003ca href=\"http://kevchoice.wordpress.com/\">Kev Choice Ensemble\u003c/a> perform Saafir’s “Light Sleeper”:\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/TFJcIEQFByM'\n title='//www.youtube.com/embed/TFJcIEQFByM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Above:\u003ca href=\"http://kevchoice.wordpress.com/\"> Kev Choice Ensemble\u003c/a> reinterprets Saafir’s “Light Sleeper” at \u003ca href=\"http://www.ybca.org/classick-hip-hop\">YBCA’s \u003cem>Clas/Sick Hip Hop: 1993 Edition.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>Oakland-based artist \u003ca href=\"http://kevchoice.wordpress.com/\">Kev Choice\u003c/a> is a pianist, MC, producer, bandleader, sideman, music historian and urban griot dedicated to cultural expression. Through his band Kev Choice Ensemble, he produces and performs his own material, including original jazz and classical compositions as well as classical, jazz, and funk-inspired hip-hop.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/kev.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-10238616\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/kev.jpg\" alt=\"kev\" width=\"908\" height=\"510\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/kev.jpg 908w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/kev-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/kev-800x449.jpg 800w\" sizes=\"(max-width: 908px) 100vw, 908px\">\u003c/a>\u003c/p>\n\u003cp>As a teenager, Choice played in classical and jazz ensembles as part of the UC Berkeley Young Musicians Program, and continued his musical studies at Xavier University of Louisiana in New Orleans and Southern Illinois University. Choice has toured with \u003ca href=\"https://www.michaelfranti.com/home\">Michael Franti and Spearhead\u003c/a>, \u003ca href=\"http://www.lyricsborn.com/\">Lyrics Born,\u003c/a> \u003ca href=\"https://twitter.com/tooshort\">Too $hort\u003c/a>, \u003ca href=\"http://www.ledisi.com/\">Ledisi\u003c/a>, \u003ca href=\"https://www.facebook.com/MosDef\">Goapele, Mos Def, \u003c/a>\u003ca href=\"https://www.youtube.com/watch?v=cM4kqL13jGM\">Digable Planets\u003c/a> and \u003ca href=\"http://www.lauryn-hill.com/\">Lauryn Hill\u003c/a>.\u003c/p>\n\u003cp>From the same performance, you can also watch\u003ca href=\"http://ensemblemiknawooj.com/\"> Ensemble Mik Nawooj\u003c/a> perform \u003ca href=\"http://www.wutang-corp.com/artists/wu-tang-clan.php\">Wu-Tang Clan\u003c/a>’s “C.R.E.A.M.”:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=68wQ6g9w2xE]\u003c/p>\n\n",
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"title": "Watch a Hip-Hop Funk Big Band Pay Homage to Saafir’s \"Light Sleeper\" | KQED",
"description": "Above: Kev Choice Ensemble reinterprets Saafir's "Light Sleeper" at YBCA's Clas/Sick Hip Hop: 1993 Edition. Oakland-based artist Kev Choice is a pianist, MC, producer, bandleader, sideman, music historian and urban griot dedicated to cultural expression. Through his band Kev Choice Ensemble, he produces and performs his own material, including original jazz and classical compositions as well as classical, jazz, and funk-inspired hip-hop. As a teenager, Choice played in classical and jazz ensembles as part of the UC Berkeley Young Musicians Program, and continued his musical studies at Xavier University of Louisiana in New Orleans and Southern Illinois University. Choice has toured with Michael Franti and",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Above:\u003ca href=\"http://kevchoice.wordpress.com/\"> Kev Choice Ensemble\u003c/a> reinterprets Saafir’s “Light Sleeper” at \u003ca href=\"http://www.ybca.org/classick-hip-hop\">YBCA’s \u003cem>Clas/Sick Hip Hop: 1993 Edition.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>Oakland-based artist \u003ca href=\"http://kevchoice.wordpress.com/\">Kev Choice\u003c/a> is a pianist, MC, producer, bandleader, sideman, music historian and urban griot dedicated to cultural expression. Through his band Kev Choice Ensemble, he produces and performs his own material, including original jazz and classical compositions as well as classical, jazz, and funk-inspired hip-hop.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/kev.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-10238616\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/kev.jpg\" alt=\"kev\" width=\"908\" height=\"510\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/kev.jpg 908w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/kev-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/kev-800x449.jpg 800w\" sizes=\"(max-width: 908px) 100vw, 908px\">\u003c/a>\u003c/p>\n\u003cp>As a teenager, Choice played in classical and jazz ensembles as part of the UC Berkeley Young Musicians Program, and continued his musical studies at Xavier University of Louisiana in New Orleans and Southern Illinois University. Choice has toured with \u003ca href=\"https://www.michaelfranti.com/home\">Michael Franti and Spearhead\u003c/a>, \u003ca href=\"http://www.lyricsborn.com/\">Lyrics Born,\u003c/a> \u003ca href=\"https://twitter.com/tooshort\">Too $hort\u003c/a>, \u003ca href=\"http://www.ledisi.com/\">Ledisi\u003c/a>, \u003ca href=\"https://www.facebook.com/MosDef\">Goapele, Mos Def, \u003c/a>\u003ca href=\"https://www.youtube.com/watch?v=cM4kqL13jGM\">Digable Planets\u003c/a> and \u003ca href=\"http://www.lauryn-hill.com/\">Lauryn Hill\u003c/a>.\u003c/p>\n\u003cp>From the same performance, you can also watch\u003ca href=\"http://ensemblemiknawooj.com/\"> Ensemble Mik Nawooj\u003c/a> perform \u003ca href=\"http://www.wutang-corp.com/artists/wu-tang-clan.php\">Wu-Tang Clan\u003c/a>’s “C.R.E.A.M.”:\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Your New Music Editor's Top 25 Albums of 2014",
"headTitle": "Your New Music Editor’s Top 25 Albums of 2014 | KQED",
"content": "\u003cp>As your proud new music editor here at KQED Arts, I’m always eager to share new music that inspires me. Thus, for your perusal, the below compiled list of albums that got me through the year 2014. (And if you really want to dig deep, see my top album lists from the years \u003ca href=\"http://citysound.bohemian.com/2013/12/31/gabes-top-25-albums-of-2013/\" target=\"_blank\" rel=\"noopener\">2013\u003c/a>, \u003ca href=\"http://citysound.bohemian.com/2012/12/13/top-25-albums-of-2012/\" target=\"_blank\" rel=\"noopener\">2012\u003c/a>, \u003ca href=\"http://citysound.bohemian.com/2011/12/14/top-25-albums-of-2011/\" target=\"_blank\" rel=\"noopener\">2011\u003c/a>, \u003ca href=\"http://citysound.bohemian.com/2010/12/14/top-25-albums-of-2010/\" target=\"_blank\" rel=\"noopener\">2010\u003c/a>, and lo and behold, the \u003ca href=\"http://citysound.bohemian.com/2009/12/15/the-top-albums-of-the-decade-2000-2009/\" target=\"_blank\" rel=\"noopener\">entire decade from 2000-2009\u003c/a>.)\u003c/p>\n\u003cp>Here’s what was on my turntable in 2014.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/FKATwigs.jpg\" alt=\"FKA Twigs\" width=\"300\" height=\"300\">\n\u003ch3>1. FKA Twigs – \u003cem>LP1\u003c/em>\u003c/h3>\n\u003ch5>(Young Turks)\u003c/h5>\n\u003cp>I listened to this album to be transported to a different world, and it never failed me. What’s more, the world to which it transported me kept changing. FKA Twigs is the stage name of Tahliah Barnett, who has been getting just as much press for dating Robert Pattinson as for her music, which I suppose is inevitable. After an EP that yielded the minimalist masterpiece “\u003ca href=\"https://www.youtube.com/watch?v=kFtMl-uipA8\" target=\"_blank\" rel=\"noopener\">Water Me\u003c/a>,” her debut full-length is such a brilliant mix of compact songwriting and off-kilter sounds that it \u003cem>feels\u003c/em> like a foregone conclusion. But really, there’s nothing foregone about it. Even after repeat listening, the billowing oscillations of “\u003ca href=\"https://www.youtube.com/watch?v=3yDP9MKVhZc\" target=\"_blank\" rel=\"noopener\">Two Weeks\u003c/a>” or spare rattling of “\u003ca href=\"https://www.youtube.com/watch?v=Cw6H9YsTLek\" target=\"_blank\" rel=\"noopener\">Pendulum\u003c/a>” still emerge through the speakers entirely unexpected; amid all the “weird R&B” in the world, nothing sounds like this album does. Imagine if a pod from the International Space Station landed inside a Gothic cathedral and hooked its circuit board to the organ while a singular figure emerged from the choir to sing about desire and flesh and trust, maybe? When I \u003ca href=\"http://www.sfweekly.com/shookdown/2014/08/14/fka-twigs-hypnotizes-the-great-american-music-hall-8-13-14\" target=\"_blank\" rel=\"noopener\">saw her at the Great American Music Hall\u003c/a> in August, she moved like a gazelle, awash in red silk. On \u003cem>LP1\u003c/em>, she creates a universe of her own and invites you to settle in.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/BenFrost.jpg\" alt=\"Ben Frost\" width=\"300\" height=\"300\">\n\u003ch3>2. Ben Frost – \u003cem>A U R O R A\u003c/em>\u003c/h3>\n\u003ch5>(Bedroom Community)\u003c/h5>\n\u003cp>After watching \u003ca href=\"http://m.mlb.com/video/topic/61827086/v36878097/ws2014-gm7-giants-win-2014-world-series\" target=\"_blank\" rel=\"noopener\">the Giants win the World Series\u003c/a> on the gigantic Civic Center screen with thousands of other fans in October, and after hugging and high-fiving absolute strangers beneath a hailstorm of bootleg fireworks to the sounds of an impromptu Dixieland band, I walked over to 1015 Folsom and let the terrifying abrasion of Ben Frost’s live set wash over me. This is not music you’ll be playing at Christmas dinner, folks: \u003cem>A U R O R A\u003c/em> would be described as unlistenable noise by most people. But I couldn’t help putting it on again and again. Like FKA Twigs, it creates its own idiom, the rules and melodies of which become clearer over time. If nothing else, the album always served me well as a palate-cleanser, a cotton towel shoved through the ears to floss the brain. Beneath the jarring surface, there’s a lot of beauty to be had here.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/EMA.jpg\" alt=\"EMA\" width=\"300\" height=\"300\">\n\u003ch3>3. EMA – \u003cem>The Future’s Void\u003c/em>\u003c/h3>\n\u003ch5>(Matador)\u003c/h5>\n\u003cp>Back in 1964, Bob Dylan sang about contemporary life—poetically, yes, but remember that he also did so directly, and humorously. As a 14-year-old, I fell in love with his references to \u003ca href=\"http://www.bobdylan.com/us/songs/i-shall-be-free\" target=\"_blank\" rel=\"noopener\">Anita Ekberg, Yul Brynner, Elizabeth Taylor and Greasy Kid’s Stuff\u003c/a>, whatever any of those things were. Now, I think about \u003cem>The Freewheelin’\u003c/em> when I listen to \u003cem>The Future’s Void\u003c/em>. In 2014, Erika M. Anderson was widely said to have written a “post-internet” album, which really just means she spends some of \u003cem>The Future’s Void\u003c/em> singing about contemporary life, which very naturally includes the internet. (Twenty years from now, a 14-year-old is going to hear it and wonder what a “selfie” is.) As \u003ca href=\"http://www.sfweekly.com/sanfrancisco/into-the-white-ema-grapples-with-the-decay-of-privacy-in-the-internet-age/Content?oid=2950170\" target=\"_blank\" rel=\"noopener\">she told me in June\u003c/a>, “To make art right now that tries to talk about the landscape in the world, or in America, and not in any way acknowledge the internet? That just seems so unrealistic.” But \u003cem>The Future’s Void\u003c/em> is, at its heart, a record about privacy, and the concept of self, and the ways modern life conspires to take that away from each and every one of us. I listened to this album to be reminded that Facebook can’t take everything.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/Grouper.jpg\" alt=\"Grouper\" width=\"300\" height=\"300\">\n\u003ch3>4. Grouper – \u003cem>Ruins\u003c/em>\u003c/h3>\n\u003ch5>(Yellow Electric / Kranky)\u003c/h5>\n\u003cp>In 2011, Liz Harris, newly single, took a residency in Portugal and wrote this stunning set of songs. They are fragile things, befitting one’s emotions after a breakup. Have you ever been on vacation somewhere, away from your regular life, and taken a walk through a park, and the whole world seems foreign but beautiful, and in one rare moment, you’re overcome and say to yourself, “I want this to last”? This album reminds me of those moments. I saw Harris in September, opening for Swans in Portland, playing a wordless sound-collage set. But \u003cem>Ruins\u003c/em> has vocals that haven’t been so prominent in the mix since her 2008 gem \u003cem>Dragging a Dead Deer Up a Hill\u003c/em>, and trying to make out the words takes a backseat to the soft beauty of it all. I turned to this record at night, usually, and thought of love, nature, and old friends.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/bleachers.jpg\" alt=\"Bleachers\" width=\"300\" height=\"300\">\n\u003ch3>5. Bleachers – \u003cem>Strange Desire\u003c/em>\u003c/h3>\n\u003ch5>(RCA)\u003c/h5>\n\u003cp>And just like that, the guitarist for Fun starts another band, and the world has a handful of new catchy-as-hell anthems. \u003ca href=\"http://youtu.be/pAGk7cIGcU4?t=1m40s\" target=\"_blank\" rel=\"noopener\">Jack Antonoff \u003c/a>will probably be tapped as a producer more than a frontman in the coming years, but his royalty checks from \u003ca href=\"https://www.youtube.com/watch?v=PVAfR3QjFKo\" target=\"_blank\" rel=\"noopener\">Taylor Swift\u003c/a> can help fund Bleachers for many years to come, as far as I’m concerned. Antonoff, as your girlfriend will tell you, is dating Lena Dunham, and it’s hard to separate the idea of that relationship from these songs, many of which are the sort of excited, joyful songs one writes when they’re overcome with new love. I mean, “\u003ca href=\"https://www.youtube.com/watch?v=o5osPtE7kXI\" target=\"_blank\" rel=\"noopener\">I Wanna Get Better\u003c/a>“—isn’t that what most of us feel when someone’s given us so much happiness and inspiration? That we want to be the best possible version of ourselves for them in return? I listened to this album on road trips and turned it up loud and enjoyed being alive.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/Common.jpg\" alt=\"Common\" width=\"300\" height=\"300\">\n\u003ch3>6. Common – \u003cem>Nobody’s Smiling\u003c/em>\u003c/h3>\n\u003ch5>(ARTium / Def Jam)\u003c/h5>\n\u003cp>I’ll be the first to say that Common has made more than a few missteps in the past few years; his output since 2005’s \u003cem>Go\u003c/em> has been spotty at best, embarrassing at worst. So it’s a relief that \u003cem>Nobody’s Smiling\u003c/em> is so deeply rewarding. Dedicated to South Side Chicago and its ongoing homicide crisis, the record is a thoughtful rebuke to all Fox News commentators who believe, wrongly, that \u003ca href=\"http://www.theatlantic.com/national/archive/2014/08/black-people-are-not-ignoring-black-on-black-crime/378629/\" target=\"_blank\" rel=\"noopener\">rap music fails to address “black-on-black” crime\u003c/a>. What’s more, the production is left-field incredible and Common is back to form on the mic. In October, my wife and I were driving home from a show and listening to a mix of modern rap hits on KMEL—”\u003ca href=\"https://www.youtube.com/watch?v=nGt_JGHYEO4\" target=\"_blank\" rel=\"noopener\">Lifestyle\u003c/a>,” “\u003ca href=\"https://www.youtube.com/watch?v=UX6K7waag5Q\" target=\"_blank\" rel=\"noopener\">We Dem Boyz\u003c/a>,” “\u003ca href=\"https://www.youtube.com/watch?v=-KKbdErJkiY\" target=\"_blank\" rel=\"noopener\">Type of Way\u003c/a>“—and she commented at how strange, stunted and yelpy rap music had become. Then the DJ played “The Neighborhood,” from this album, and it was like Autotune had never happened.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/SturgillSimpson.jpg\" alt=\"Sturgill Simpson\" width=\"300\" height=\"300\">\n\u003ch3>7. Sturgill Simpson – \u003cem>Metamodern Sounds in Country Music\u003c/em>\u003c/h3>\n\u003ch5>(High Top Mountain)\u003c/h5>\n\u003cp>I have been to the mountaintop of mainstream country music, and I have drank from its overproduced, cornball sentimental riches. I have seen the concerts of Miranda Lambert, Trace Adkins, Luke Bryan, Dierks Bentley and Eric Church, and I have thoroughly enjoyed myself in the Coors-drinking throng. But this year I put the “alt” back into alt-country, and filled myself with this wonderful album by Sturgill Simpson. Though cosmic kickoff track “\u003ca href=\"https://www.youtube.com/watch?v=6gBV-Nzq7Pg\" target=\"_blank\" rel=\"noopener\">Turtles All the Way Down\u003c/a>” gets most of the attention—and sure, there aren’t too many country songs that champion the virtues of DMT and LSD—the whole album’s a Nashville banger, with a well-done cover of When In Rome’s ’80s hit “The Promise” thrown in for good measure. \u003cem>Metamodern Sounds\u003c/em> also has a secret weapon in the form of lead guitarist Laur Joamets, who turns his Telecaster into a buzzsaw on a moments’ notice. When I saw him at the Fillmore in November, Simpson and his band tore the place up like it was a Kentucky juke joint. Listening to this album reminded me about honesty in country music in 2014.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/GreatApes.jpg\" alt=\"Great Apes\" width=\"300\" height=\"300\">\n\u003ch3>8. Great Apes – \u003cem>Playland at the Beach\u003c/em>\u003c/h3>\n\u003ch5>(Asian Man)\u003c/h5>\n\u003cp>It’s no secret that San Francisco is changing, and with great challenges can come great art. \u003cem>Playland at the Beach\u003c/em> is a five-song EP by San Francisco punk band Great Apes, and for my money it’s the most poetic address yet to the changing face of the city. Each song is “narrated” by a different building—Vesuvio’s, City Hall, an apartment building on Valencia—with local landmarks galore and a general tone of betrayal for a city’s lost culture. “What the city is essentially becoming is a homogenized, vanilla, adult Disneyland for the rich,” Great Apes frontman Brian Moss \u003ca href=\"http://www.sfweekly.com/sanfrancisco/great-apes-brian-moss-san-francisco/Content?oid=3269804\" target=\"_blank\" rel=\"noopener\">told me in November\u003c/a>, “and with that, you’re basically erasing a cultural landscape of artists—or, as I’m referencing in the songs, certain elements of what people might deem as filth, but what’s really the raw, human diversity that I believe makes cities great.” Great Apes are part of that diversity, in a lineage stretching back to hallowed Mission District band Jawbreaker—whose gravelly vocals and way with words are probably the best-known touchstones for listeners of \u003cem>Playland at the Beach\u003c/em>. I played this record while driving through San Francisco and thinking about the city’s future.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/Tree.jpg\" alt=\"Tree\" width=\"300\" height=\"300\">\n\u003ch3>9. Tree – \u003cem>The @MCTREEG EP\u003c/em>\u003c/h3>\n\u003ch5>(Scion AV)\u003c/h5>\n\u003cp>I’ve had my issues with corporate companies funding artists’ careers (behold \u003ca href=\"http://green-label.com/sound/\" target=\"_blank\" rel=\"noopener\">Green Label Sound\u003c/a>, Mountain Dew’s record label), but occasionally even I must throw up my arms and concede that sometimes the suits get it right. Tree is a unique Chicago rapper with a gruff voice who straddles old jazz and soul with style and wit; his song “\u003ca href=\"https://www.youtube.com/watch?v=XPVK7eOWVnk\" target=\"_blank\" rel=\"noopener\">Godlike\u003c/a>,” which falls over itself in an off-time piano loop, dominated my life for a couple weeks in January. The funny thing is that when I ordered this record, it showed up with a note from Tree himself, sent from his home address. I guess Scion doesn’t do mailorder.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/BrianBlade.jpg\" alt=\"Brian Blade\" width=\"300\" height=\"300\">\n\u003ch3>10. Brian Blade & The Fellowship Band – \u003cem>Landmarks\u003c/em>\u003c/h3>\n\u003ch5>(Blue Note)\u003c/h5>\n\u003cp>Brian Blade is an excellent drummer who plays with jazz greats like Joshua Redman and Wayne Shorter. He also records with Bob Dylan, Joni Mitchell, and Iron & Wine. Straddling these two worlds is his Fellowship Band, and \u003cem>Landmarks\u003c/em> is a stunning record of jazz composition, if short on jazz improvisation. Gone are the traditional solos in place of a rich, spiritual sound, and in this, it reminds me of Hank Jones and Charlie Haden’s \u003cem>Steal Away\u003c/em>. “Shenandoah” is here as a signpost, and Blade’s New Orleans upbringing is applied to a swath of other southern sounds. A good Sunday-morning record to play, after Aretha Franklin’s \u003cem>Amazing Grace\u003c/em>.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/PerfectPussy.jpg\" alt=\"Perfect Pussy\" width=\"300\" height=\"300\">\n\u003ch3>11. Perfect Pussy – \u003cem>Say Yes to Love\u003c/em>\u003c/h3>\n\u003ch5>(Captured Tracks)\u003c/h5>\n\u003cp>I’ll always go for a solid hardcore record with diary-entry lyrics, and \u003cem>Say Yes to Love\u003c/em> is no exception. There’s nothing groundbreaking going on musically, of course, but singer Meredith Graves’ lyrics are so tremendous and, as it goes, very buried in the mix. (When I \u003ca href=\"http://www.sfweekly.com/shookdown/2014/05/27/perfect-pussy-brings-noisy-catharsis-to-rickshaw-stop-5-26-14\" target=\"_blank\" rel=\"noopener\">saw the band in May\u003c/a>, Graves told the soundman to simply “make it as loud and horrible as possible.”) Though not as in-your-face, Perfect Pussy has a fearlessness reminiscent of riot grrrl pioneers Bikini Kill; \u003ca href=\"http://www.wonderingsound.com/feature/tobi-vail-interviews-perfect-pussys-meredith-graves/\" target=\"_blank\" rel=\"noopener\">here you can read a long, in-depth conversation\u003c/a> between Graves and Bikini Kill’s Tobi Vail. I listened to this record for hope, and for strength.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/dAngelo.jpg\" alt=\"D'Angelo\" width=\"300\" height=\"300\">\n\u003ch3>12. D’Angelo – \u003cem>Black Messiah\u003c/em>\u003c/h3>\n\u003ch5>(RCA)\u003c/h5>\n\u003cp>Not that anyone could ever top Beyoncé’s surprise album release last year, but I’ve learned to hold off on these lists until December is mostly spent. And though this album is no \u003cem>Voodoo\u003c/em>, D’Angelo’s sublime, burbling masterwork, it was exactly what the world needed in early December, post-Eric Garner and Mike Brown, post-#BlackLivesMatter changed to #AllLivesMatter. For me, its predecessor wasn’t D’Angelo’s previous work, but having spent the day prior to its release taking part in the Millions March along Market Street. Like many, I downloaded it instantly and played it on repeat until 2:30am. Then I woke up and played it again.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/RAC.jpg\" alt=\"RAC\" width=\"300\" height=\"300\">\n\u003ch3>13. R.A.C. – \u003cem>Strangers\u003c/em>\u003c/h3>\n\u003ch5>(Interscope)\u003c/h5>\n\u003cp>This arrived as a tip from my wife, who favors synthesized dance music from the decade of \u003cem>Say Anything\u003c/em>. This album is pure perfection in that regard, but it’s far from your everyday saccharine retro placebo. With a rotating cast of guest singers, from MNDR to Tegan & Sara, \u003cem>Strangers\u003c/em> toys with modern life’s disconnect (“Tourist”) and the superficial vagaries of fame (“Hollywood”). Of course, there’s a good old-fashioned \u003ca href=\"https://www.youtube.com/watch?v=z6eYhWQyOso\" target=\"_blank\" rel=\"noopener\">ode to driving to the beach\u003c/a>, too. The timelessness to these songs lies in their catchy hooks, and they’re not likely to grow tired for me anytime soon.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/Future.jpg\" alt=\"Future\" width=\"300\" height=\"300\">\n\u003ch3>14. Future – \u003cem>Honest\u003c/em>\u003c/h3>\n\u003ch5>(Freebandz / Epic)\u003c/h5>\n\u003cp>Probably one of the year’s biggest surprise moments was the release of \u003ca href=\"http://www.npr.org/event/music/359661053/t-pain-tiny-desk-concert\" target=\"_blank\" rel=\"noopener\">T-Pain’s Tiny Desk Concert\u003c/a>, where he sang classics like “Buy You a Drank” without the effect of Autotune. This makes sense for T-Pain—after all, he \u003ca href=\"http://www.newyorker.com/culture/culture-desk/the-sadness-of-t-pain\" target=\"_blank\" rel=\"noopener\">expressed sorrow for his reputation’s wreckage\u003c/a>, and was called out personally by Jay-Z in “Death of Autotune”—but most people still don’t understand the software, or how it’s used, sparingly, in nearly every recording now. I’m a fan of the way Future uses it, which was a precursor to Yung Thug and Rich Homie Quan’s use of it, which is to say it makes their cracking voices sound like they’re being struck by lightning. Future has hooks for days, and his music is filled with hope and ambition. When \u003ca href=\"http://www.sfweekly.com/shookdown/2014/07/01/future-overcomes-the-monday-curse-at-regency-ballroom-6-30-14\" target=\"_blank\" rel=\"noopener\">I saw him in July\u003c/a>, every song was a singalong.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/JoyceManor.jpg\" alt=\"Joyce Manor\" width=\"300\" height=\"300\">\n\u003ch3>15. Joyce Manor – \u003cem>Never Hungover Again\u003c/em>\u003c/h3>\n\u003ch5>(Epitaph)\u003c/h5>\n\u003cp>There’s really nothing wrong with being derivative if you do it with enough heart, and though I didn’t know what to make of Joyce Manor at first, seeing them at Amoeba in August turned me into a fan. Melodic kitschy mid-tempo pop-punk, yadda yadda yadda, but when you’re surrounded by \u003ca href=\"https://www.youtube.com/watch?v=cF_dxObR8-8\" target=\"_blank\" rel=\"noopener\">300 people all singing along more loudly than the band\u003c/a>, it’s a little bit infectious. (As a plus, singer Barry Johnson has \u003ca href=\"http://www.imposemagazine.com/features/joyce-manor-favorite-live-performances\" target=\"_blank\" rel=\"noopener\">fantastic taste in YouTube videos\u003c/a>.) These songs are very short, to the point, and stay in your head for days.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/NickiMinaj.jpg\" alt=\"Nicki Minaj\" width=\"300\" height=\"300\">\n\u003ch3>16. Nicki Minaj – \u003cem>The Pinkprint\u003c/em>\u003c/h3>\n\u003ch5>(Young Money)\u003c/h5>\n\u003cp>Nicki Minaj put out a string of terrible singles in 2014, and the way to really appreciate this album is to simply delete them. So much of Nicki in 2014 seemed to be a reaction to critics of \u003cem>Pink Friday: Roman Reloaded\u003c/em>, the best album she’s made, who claimed it was “too pop.” So thanks to Peter Rosenberg, we got “Only.” Trash that song like the garbage it is, along with “Anaconda,” and what’s left is a personal song cycle that’s full of personality, humor, sorrow and cleverness. She’s one of the best rappers alive when she’s on her game, and call me crazy, but she’s a role model for my five year-old daughter. When \u003ca href=\"http://citysound.bohemian.com/2012/08/14/live-review-nicki-minaj-at-the-paramount-theater-oakland/\" target=\"_blank\" rel=\"noopener\">I saw her in Oakland in 2012\u003c/a>, she addressed the young girls in the crowd: “Being a loser is not cool,” she said. “Giving your goodies to every Tom, Dick & Harry is not cool. Being intelligent and ambitious is where it’s at. Men are attracted to ambitious women. Ain’t I right, guys?” This is not Nicki’s best album as a whole, but there’s a lot of bravery on it.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/AngelOlson.jpg\" alt=\"Angel Olsen\" width=\"300\" height=\"300\">\n\u003ch3>17. Angel Olsen – \u003cem>Burn Your Fire for No Witness\u003c/em>\u003c/h3>\n\u003ch5>(Jagjaguwar)\u003c/h5>\n\u003cp>A remarkable album that owes as much to early folk like the Incredible String Band and Fairport Convention as it does the cosmic American music of Will Oldham, with whom Olsen toured, \u003cem>Burn Your Fire\u003c/em> kept finding its way back to my stereo. Filled with mystery and longing, the record is deceptively simple, a trait that attracted advertising companies. In November, \u003ca href=\"http://ww2.kqed.org/arts/2014/11/28/angel-olson-talks-90s-rb-women-in-music-and-her-whirlwind-year/\" target=\"_blank\" rel=\"noopener\">Olsen told KQED\u003c/a> that she’d turned down a healthy sum for her music to be used in a commercial, “because it’s a crappy company, and it’s going to damage my career.” May she reap the rewards twofold for blazing her own trail.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/JamesHoff.jpg\" alt=\"James Hoff\" width=\"300\" height=\"300\">\n\u003ch3>18. James Hoff – \u003cem>Blaster\u003c/em>\u003c/h3>\n\u003ch5>(PAN)\u003c/h5>\n\u003cp>In the pantheon of weird records, one of my favorites is \u003ca href=\"http://www.discogs.com/Disc-Transfer/release/98364\" target=\"_blank\" rel=\"noopener\">Disc’s \u003cem>Transfer\u003c/em>\u003c/a>, which was created by smashing CDs, gluing them back together, putting them in a CD player, pressing “play” and recording the skipping blips and glitches. That was 15 years ago. In 2014, New York artist James Hoff infected 808 beats with \u003ca href=\"http://en.wikipedia.org/wiki/Blaster_%28computer_worm%29\" target=\"_blank\" rel=\"noopener\">the Blaster virus\u003c/a>, recorded the results, and used them as foundations for new compositions. The results are fabulously askew—your cat will hate it. There’s definitely some high art happening here, but it’s also just a riot to listen to. As Hoff himself says \u003ca href=\"http://bombmagazine.org/article/10095/james-hoff\" target=\"_blank\" rel=\"noopener\">in this interview\u003c/a>, “I don’t want the work’s reception necessarily hinged on’“getting it.'” I like that idea.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/MarcRibot.jpg\" alt=\"Marc Ribot\" width=\"300\" height=\"300\">\n\u003ch3>19. Marc Ribot Trio – \u003cem>Live at the Village Vanguard\u003c/em>\u003c/h3>\n\u003ch5>(Pi)\u003c/h5>\n\u003cp>Most know Marc Ribot as The Guy Who Played Guitar on \u003cem>Rain Dogs\u003c/em>, and if you’ve ever heard “Singapore” or “\u003ca href=\"https://www.youtube.com/watch?v=MZ4sK-Q42AU\" target=\"_blank\" rel=\"noopener\">Cemetery Polka\u003c/a>,” you know he has a knack for playing what sound like wrongish notes, just a tiny bit out of bounds. Eric Dolphy did this, David Rawlings does this, and Albert Ayler did this. It’s Ayler we’re concerned with here, since Ribot wisely recruited Henry Grimes, Ayler’s bassist, to join his group. For this recording, the trio play Ayler’s “The Wizard” and “Bells,” John Coltrane’s “Sun Ship” and “Dearly Beloved,” and standards “Old Man River” and “I’m Confessin’ That I Love You.” There’s an intense fire beneath it all, and listening to Ribot’s solos unfold is like watching a Pollock painting take form. I listened to this when I needed to enter a different mindset.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/TaylorSwift.jpg\" alt=\"Taylor Swift\" width=\"300\" height=\"300\">\n\u003ch3>20. Taylor Swift – \u003cem>1989\u003c/em>\u003c/h3>\n\u003ch5>(Big Machine)\u003c/h5>\n\u003cp>Because I grew up in the \u003cem>Thriller\u003c/em> era, \u003ca href=\"http://www.salon.com/2011/09/29/how_niches_killed_culture/\" target=\"_blank\" rel=\"noopener\">I miss the monoculture\u003c/a>. I miss big universal pop moments, like Lionel Richie’s halftime show or the “Like a Prayer” premiere. I also sometimes miss big dumb pop music for the sake of big dumb pop music. That’s why I cringed at the “\u003ca href=\"https://www.youtube.com/watch?v=nfWlot6h_JM\" target=\"_blank\" rel=\"noopener\">Shake it Off\u003c/a>” video but eventually relented to \u003cem>1989\u003c/em>. Isn’t that what pop music does? Annoys you into submission until you sing along, like a \u003ca href=\"https://www.youtube.com/watch?v=QHn6Hgx_sfE\" target=\"_blank\" rel=\"noopener\">bubble gum commercial\u003c/a> jingle? This record doesn’t have the personality of Swift’s earlier albums—it could have been recorded by anybody with a gazillion-dollar budget—but that’s beside the point when you’re reaching for a big pop moment.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/iceage.jpg\" alt=\"Iceage\" width=\"300\" height=\"300\">\n\u003ch3>21. Iceage – \u003cem>Plowing Into the Field of Love\u003c/em>\u003c/h3>\n\u003ch5>(Matador)\u003c/h5>\n\u003cp>Denmark is a cold place, and when you start a band as a teenager there, it’s likely to be a punk band (especially in Copenhagen, with one of the world’s \u003ca href=\"http://en.wikipedia.org/wiki/Freetown_Christiania\" target=\"_blank\" rel=\"noopener\">longest-running squats\u003c/a>). I \u003ca href=\"http://citysound.bohemian.com/2013/03/26/live-review-iceage-at-the-rickshaw-stop/\" target=\"_blank\" rel=\"noopener\">saw Iceage\u003c/a> during this era, and was entranced by the magnetism of lead singer Elias Bender Rønnenfelt, who used the front rows of the audience alternately as a mattress and punching bag. For their third album, Iceage’s malaise is tucked under the surface. A “mature” outing with obvious nods to Nick Cave and even classic country, it’s an eerie listen that always made me feel a little more mortal.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/SageGemini.jpg\" alt=\"Sage the Gemini\" width=\"300\" height=\"300\">\n\u003ch3>22. Sage the Gemini – \u003cem>Remember Me\u003c/em>\u003c/h3>\n\u003ch5>(HBK / Republic)\u003c/h5>\n\u003cp>Yes, I agree that DJ Mustard \u003ca href=\"http://www.vladtv.com/blog/202454/yg-dj-mustard-slam-grammys-for-nomination-snubs/400956/\" target=\"_blank\" rel=\"noopener\">got snubbed\u003c/a> by the Grammys, but I also laugh at \u003ca href=\"https://twitter.com/theRonPerry/status/540951062988226560\" target=\"_blank\" rel=\"noopener\">the notion that he created “a new sound\u003c/a>.” Everyone in the Bay knows where that sound came from, and on \u003cem>Remember Me\u003c/em>, Sage the Gemini perfects the very vibe that Mustard \u003ca href=\"http://imgur.com/gallery/xI2bz\" target=\"_blank\" rel=\"noopener\">routinely dumbs down\u003c/a>. (I say this as a genuine fan of “Don’t Tell ‘Em,” “Who Do You Love,” “24 Hours” and other Mustard productions.) The most well-known member of Richmond’s multi-talented HBK collective, Sage can be playful on the mic or serious, aggressive or understated. It all works over his keen production skills, and the ubiquitous radio hits “Gas Pedal” and “Red Nose” are bound to be played in clubs for the next 10 years. Someday I’ll write a treatise about how Bay Area rap has to claw its way to recognition; in the meantime, this album serves as a reminder of our fertile soil.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/StVincent.jpg\" alt=\"St. Vincent\" width=\"300\" height=\"300\">\n\u003ch3>23. St. Vincent – \u003cem>St. Vincent\u003c/em>\u003c/h3>\n\u003ch5>(Republic)\u003c/h5>\n\u003cp>After a collaborative album with David Byrne, \u003cem>St. Vincent\u003c/em> is Annie Clark’s most Talking Heads-esque album to date. It consists largely of compact pop songs, presented slightly off-kilter, with strange rhythms and memorable melodies. Being less expansive and more accessible than predecessor \u003cem>Strange Mercy\u003c/em> earned this album some enmity from fans, but it’s a thrill to see an artist’s vision so clearly realized. Her tour in 2014 was a whirlwind of strobe lighting, choreography and, of course, \u003ca href=\"https://www.youtube.com/watch?v=mqd9hi7V-rw\" target=\"_blank\" rel=\"noopener\">shredding guitar solos\u003c/a>.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/BlapDeli.jpg\" alt=\"Blap Deli\" width=\"300\" height=\"300\">\n\u003ch3>24. Bläp Dëli – \u003cem>Whispër Më\u003c/em>\u003c/h3>\n\u003ch5>(Pragmatic Theory)\u003c/h5>\n\u003cp>Last I heard, Bläp Dëli’s Emmett Ross-Cole lived on a family heirloom farm in the middle of a vineyard in Sonoma County, which just goes to show that great electronic music can be created anywhere. This album is full of lush, layered soundscapes that create a cerebral, soulful mood; it could fit in easily alongside Los Angeles’ \u003ca href=\"http://www.brainfeedersite.com/\" target=\"_blank\" rel=\"noopener\">Brainfeeder\u003c/a> catalog, or at a \u003ca href=\"http://ninjatune.net/\" target=\"_blank\" rel=\"noopener\">Ninja Tune\u003c/a> showcase. For me, it works as a late-night soundtrack, full of synthesizers and broken beats. Keep your eye on this guy.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/SunKilMoon.jpg\" alt=\"Sun Kil Moon\" width=\"300\" height=\"300\">\n\u003ch3>25. Sun Kil Moon – \u003cem>Benji\u003c/em>\u003c/h3>\n\u003ch5>(Caldo Verde)\u003c/h5>\n\u003cp>I listened to this album exactly once, while driving down Highway 101 in Southern California at night, and I’m never going to listen to it again. That’s because the experience of listening to it once was perfect, like reading a collection of short stories in a cabin somewhere. Why would I taint it with a repeat? These are sad songs of tragedy, death, exploding aerosol cans, teenage sex, hospital beds, cars and alcohol, sung in stark, straightforward fashion by a low, mumbling voice. Because it’s so singular, and so honest, it would be very easy to mock, but the stories are just so incredibly alive and real.\u003c/p>\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "From North Carolina folk and psychedelic country to British R&B and Chicago rap, KQED Arts' Music Editor Gabe Meline picks his top albums of 2014.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As your proud new music editor here at KQED Arts, I’m always eager to share new music that inspires me. Thus, for your perusal, the below compiled list of albums that got me through the year 2014. (And if you really want to dig deep, see my top album lists from the years \u003ca href=\"http://citysound.bohemian.com/2013/12/31/gabes-top-25-albums-of-2013/\" target=\"_blank\" rel=\"noopener\">2013\u003c/a>, \u003ca href=\"http://citysound.bohemian.com/2012/12/13/top-25-albums-of-2012/\" target=\"_blank\" rel=\"noopener\">2012\u003c/a>, \u003ca href=\"http://citysound.bohemian.com/2011/12/14/top-25-albums-of-2011/\" target=\"_blank\" rel=\"noopener\">2011\u003c/a>, \u003ca href=\"http://citysound.bohemian.com/2010/12/14/top-25-albums-of-2010/\" target=\"_blank\" rel=\"noopener\">2010\u003c/a>, and lo and behold, the \u003ca href=\"http://citysound.bohemian.com/2009/12/15/the-top-albums-of-the-decade-2000-2009/\" target=\"_blank\" rel=\"noopener\">entire decade from 2000-2009\u003c/a>.)\u003c/p>\n\u003cp>Here’s what was on my turntable in 2014.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/FKATwigs.jpg\" alt=\"FKA Twigs\" width=\"300\" height=\"300\">\n\u003ch3>1. FKA Twigs – \u003cem>LP1\u003c/em>\u003c/h3>\n\u003ch5>(Young Turks)\u003c/h5>\n\u003cp>I listened to this album to be transported to a different world, and it never failed me. What’s more, the world to which it transported me kept changing. FKA Twigs is the stage name of Tahliah Barnett, who has been getting just as much press for dating Robert Pattinson as for her music, which I suppose is inevitable. After an EP that yielded the minimalist masterpiece “\u003ca href=\"https://www.youtube.com/watch?v=kFtMl-uipA8\" target=\"_blank\" rel=\"noopener\">Water Me\u003c/a>,” her debut full-length is such a brilliant mix of compact songwriting and off-kilter sounds that it \u003cem>feels\u003c/em> like a foregone conclusion. But really, there’s nothing foregone about it. Even after repeat listening, the billowing oscillations of “\u003ca href=\"https://www.youtube.com/watch?v=3yDP9MKVhZc\" target=\"_blank\" rel=\"noopener\">Two Weeks\u003c/a>” or spare rattling of “\u003ca href=\"https://www.youtube.com/watch?v=Cw6H9YsTLek\" target=\"_blank\" rel=\"noopener\">Pendulum\u003c/a>” still emerge through the speakers entirely unexpected; amid all the “weird R&B” in the world, nothing sounds like this album does. Imagine if a pod from the International Space Station landed inside a Gothic cathedral and hooked its circuit board to the organ while a singular figure emerged from the choir to sing about desire and flesh and trust, maybe? When I \u003ca href=\"http://www.sfweekly.com/shookdown/2014/08/14/fka-twigs-hypnotizes-the-great-american-music-hall-8-13-14\" target=\"_blank\" rel=\"noopener\">saw her at the Great American Music Hall\u003c/a> in August, she moved like a gazelle, awash in red silk. On \u003cem>LP1\u003c/em>, she creates a universe of her own and invites you to settle in.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/BenFrost.jpg\" alt=\"Ben Frost\" width=\"300\" height=\"300\">\n\u003ch3>2. Ben Frost – \u003cem>A U R O R A\u003c/em>\u003c/h3>\n\u003ch5>(Bedroom Community)\u003c/h5>\n\u003cp>After watching \u003ca href=\"http://m.mlb.com/video/topic/61827086/v36878097/ws2014-gm7-giants-win-2014-world-series\" target=\"_blank\" rel=\"noopener\">the Giants win the World Series\u003c/a> on the gigantic Civic Center screen with thousands of other fans in October, and after hugging and high-fiving absolute strangers beneath a hailstorm of bootleg fireworks to the sounds of an impromptu Dixieland band, I walked over to 1015 Folsom and let the terrifying abrasion of Ben Frost’s live set wash over me. This is not music you’ll be playing at Christmas dinner, folks: \u003cem>A U R O R A\u003c/em> would be described as unlistenable noise by most people. But I couldn’t help putting it on again and again. Like FKA Twigs, it creates its own idiom, the rules and melodies of which become clearer over time. If nothing else, the album always served me well as a palate-cleanser, a cotton towel shoved through the ears to floss the brain. Beneath the jarring surface, there’s a lot of beauty to be had here.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/EMA.jpg\" alt=\"EMA\" width=\"300\" height=\"300\">\n\u003ch3>3. EMA – \u003cem>The Future’s Void\u003c/em>\u003c/h3>\n\u003ch5>(Matador)\u003c/h5>\n\u003cp>Back in 1964, Bob Dylan sang about contemporary life—poetically, yes, but remember that he also did so directly, and humorously. As a 14-year-old, I fell in love with his references to \u003ca href=\"http://www.bobdylan.com/us/songs/i-shall-be-free\" target=\"_blank\" rel=\"noopener\">Anita Ekberg, Yul Brynner, Elizabeth Taylor and Greasy Kid’s Stuff\u003c/a>, whatever any of those things were. Now, I think about \u003cem>The Freewheelin’\u003c/em> when I listen to \u003cem>The Future’s Void\u003c/em>. In 2014, Erika M. Anderson was widely said to have written a “post-internet” album, which really just means she spends some of \u003cem>The Future’s Void\u003c/em> singing about contemporary life, which very naturally includes the internet. (Twenty years from now, a 14-year-old is going to hear it and wonder what a “selfie” is.) As \u003ca href=\"http://www.sfweekly.com/sanfrancisco/into-the-white-ema-grapples-with-the-decay-of-privacy-in-the-internet-age/Content?oid=2950170\" target=\"_blank\" rel=\"noopener\">she told me in June\u003c/a>, “To make art right now that tries to talk about the landscape in the world, or in America, and not in any way acknowledge the internet? That just seems so unrealistic.” But \u003cem>The Future’s Void\u003c/em> is, at its heart, a record about privacy, and the concept of self, and the ways modern life conspires to take that away from each and every one of us. I listened to this album to be reminded that Facebook can’t take everything.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/Grouper.jpg\" alt=\"Grouper\" width=\"300\" height=\"300\">\n\u003ch3>4. Grouper – \u003cem>Ruins\u003c/em>\u003c/h3>\n\u003ch5>(Yellow Electric / Kranky)\u003c/h5>\n\u003cp>In 2011, Liz Harris, newly single, took a residency in Portugal and wrote this stunning set of songs. They are fragile things, befitting one’s emotions after a breakup. Have you ever been on vacation somewhere, away from your regular life, and taken a walk through a park, and the whole world seems foreign but beautiful, and in one rare moment, you’re overcome and say to yourself, “I want this to last”? This album reminds me of those moments. I saw Harris in September, opening for Swans in Portland, playing a wordless sound-collage set. But \u003cem>Ruins\u003c/em> has vocals that haven’t been so prominent in the mix since her 2008 gem \u003cem>Dragging a Dead Deer Up a Hill\u003c/em>, and trying to make out the words takes a backseat to the soft beauty of it all. I turned to this record at night, usually, and thought of love, nature, and old friends.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/bleachers.jpg\" alt=\"Bleachers\" width=\"300\" height=\"300\">\n\u003ch3>5. Bleachers – \u003cem>Strange Desire\u003c/em>\u003c/h3>\n\u003ch5>(RCA)\u003c/h5>\n\u003cp>And just like that, the guitarist for Fun starts another band, and the world has a handful of new catchy-as-hell anthems. \u003ca href=\"http://youtu.be/pAGk7cIGcU4?t=1m40s\" target=\"_blank\" rel=\"noopener\">Jack Antonoff \u003c/a>will probably be tapped as a producer more than a frontman in the coming years, but his royalty checks from \u003ca href=\"https://www.youtube.com/watch?v=PVAfR3QjFKo\" target=\"_blank\" rel=\"noopener\">Taylor Swift\u003c/a> can help fund Bleachers for many years to come, as far as I’m concerned. Antonoff, as your girlfriend will tell you, is dating Lena Dunham, and it’s hard to separate the idea of that relationship from these songs, many of which are the sort of excited, joyful songs one writes when they’re overcome with new love. I mean, “\u003ca href=\"https://www.youtube.com/watch?v=o5osPtE7kXI\" target=\"_blank\" rel=\"noopener\">I Wanna Get Better\u003c/a>“—isn’t that what most of us feel when someone’s given us so much happiness and inspiration? That we want to be the best possible version of ourselves for them in return? I listened to this album on road trips and turned it up loud and enjoyed being alive.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/Common.jpg\" alt=\"Common\" width=\"300\" height=\"300\">\n\u003ch3>6. Common – \u003cem>Nobody’s Smiling\u003c/em>\u003c/h3>\n\u003ch5>(ARTium / Def Jam)\u003c/h5>\n\u003cp>I’ll be the first to say that Common has made more than a few missteps in the past few years; his output since 2005’s \u003cem>Go\u003c/em> has been spotty at best, embarrassing at worst. So it’s a relief that \u003cem>Nobody’s Smiling\u003c/em> is so deeply rewarding. Dedicated to South Side Chicago and its ongoing homicide crisis, the record is a thoughtful rebuke to all Fox News commentators who believe, wrongly, that \u003ca href=\"http://www.theatlantic.com/national/archive/2014/08/black-people-are-not-ignoring-black-on-black-crime/378629/\" target=\"_blank\" rel=\"noopener\">rap music fails to address “black-on-black” crime\u003c/a>. What’s more, the production is left-field incredible and Common is back to form on the mic. In October, my wife and I were driving home from a show and listening to a mix of modern rap hits on KMEL—”\u003ca href=\"https://www.youtube.com/watch?v=nGt_JGHYEO4\" target=\"_blank\" rel=\"noopener\">Lifestyle\u003c/a>,” “\u003ca href=\"https://www.youtube.com/watch?v=UX6K7waag5Q\" target=\"_blank\" rel=\"noopener\">We Dem Boyz\u003c/a>,” “\u003ca href=\"https://www.youtube.com/watch?v=-KKbdErJkiY\" target=\"_blank\" rel=\"noopener\">Type of Way\u003c/a>“—and she commented at how strange, stunted and yelpy rap music had become. Then the DJ played “The Neighborhood,” from this album, and it was like Autotune had never happened.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/SturgillSimpson.jpg\" alt=\"Sturgill Simpson\" width=\"300\" height=\"300\">\n\u003ch3>7. Sturgill Simpson – \u003cem>Metamodern Sounds in Country Music\u003c/em>\u003c/h3>\n\u003ch5>(High Top Mountain)\u003c/h5>\n\u003cp>I have been to the mountaintop of mainstream country music, and I have drank from its overproduced, cornball sentimental riches. I have seen the concerts of Miranda Lambert, Trace Adkins, Luke Bryan, Dierks Bentley and Eric Church, and I have thoroughly enjoyed myself in the Coors-drinking throng. But this year I put the “alt” back into alt-country, and filled myself with this wonderful album by Sturgill Simpson. Though cosmic kickoff track “\u003ca href=\"https://www.youtube.com/watch?v=6gBV-Nzq7Pg\" target=\"_blank\" rel=\"noopener\">Turtles All the Way Down\u003c/a>” gets most of the attention—and sure, there aren’t too many country songs that champion the virtues of DMT and LSD—the whole album’s a Nashville banger, with a well-done cover of When In Rome’s ’80s hit “The Promise” thrown in for good measure. \u003cem>Metamodern Sounds\u003c/em> also has a secret weapon in the form of lead guitarist Laur Joamets, who turns his Telecaster into a buzzsaw on a moments’ notice. When I saw him at the Fillmore in November, Simpson and his band tore the place up like it was a Kentucky juke joint. Listening to this album reminded me about honesty in country music in 2014.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/GreatApes.jpg\" alt=\"Great Apes\" width=\"300\" height=\"300\">\n\u003ch3>8. Great Apes – \u003cem>Playland at the Beach\u003c/em>\u003c/h3>\n\u003ch5>(Asian Man)\u003c/h5>\n\u003cp>It’s no secret that San Francisco is changing, and with great challenges can come great art. \u003cem>Playland at the Beach\u003c/em> is a five-song EP by San Francisco punk band Great Apes, and for my money it’s the most poetic address yet to the changing face of the city. Each song is “narrated” by a different building—Vesuvio’s, City Hall, an apartment building on Valencia—with local landmarks galore and a general tone of betrayal for a city’s lost culture. “What the city is essentially becoming is a homogenized, vanilla, adult Disneyland for the rich,” Great Apes frontman Brian Moss \u003ca href=\"http://www.sfweekly.com/sanfrancisco/great-apes-brian-moss-san-francisco/Content?oid=3269804\" target=\"_blank\" rel=\"noopener\">told me in November\u003c/a>, “and with that, you’re basically erasing a cultural landscape of artists—or, as I’m referencing in the songs, certain elements of what people might deem as filth, but what’s really the raw, human diversity that I believe makes cities great.” Great Apes are part of that diversity, in a lineage stretching back to hallowed Mission District band Jawbreaker—whose gravelly vocals and way with words are probably the best-known touchstones for listeners of \u003cem>Playland at the Beach\u003c/em>. I played this record while driving through San Francisco and thinking about the city’s future.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/Tree.jpg\" alt=\"Tree\" width=\"300\" height=\"300\">\n\u003ch3>9. Tree – \u003cem>The @MCTREEG EP\u003c/em>\u003c/h3>\n\u003ch5>(Scion AV)\u003c/h5>\n\u003cp>I’ve had my issues with corporate companies funding artists’ careers (behold \u003ca href=\"http://green-label.com/sound/\" target=\"_blank\" rel=\"noopener\">Green Label Sound\u003c/a>, Mountain Dew’s record label), but occasionally even I must throw up my arms and concede that sometimes the suits get it right. Tree is a unique Chicago rapper with a gruff voice who straddles old jazz and soul with style and wit; his song “\u003ca href=\"https://www.youtube.com/watch?v=XPVK7eOWVnk\" target=\"_blank\" rel=\"noopener\">Godlike\u003c/a>,” which falls over itself in an off-time piano loop, dominated my life for a couple weeks in January. The funny thing is that when I ordered this record, it showed up with a note from Tree himself, sent from his home address. I guess Scion doesn’t do mailorder.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/BrianBlade.jpg\" alt=\"Brian Blade\" width=\"300\" height=\"300\">\n\u003ch3>10. Brian Blade & The Fellowship Band – \u003cem>Landmarks\u003c/em>\u003c/h3>\n\u003ch5>(Blue Note)\u003c/h5>\n\u003cp>Brian Blade is an excellent drummer who plays with jazz greats like Joshua Redman and Wayne Shorter. He also records with Bob Dylan, Joni Mitchell, and Iron & Wine. Straddling these two worlds is his Fellowship Band, and \u003cem>Landmarks\u003c/em> is a stunning record of jazz composition, if short on jazz improvisation. Gone are the traditional solos in place of a rich, spiritual sound, and in this, it reminds me of Hank Jones and Charlie Haden’s \u003cem>Steal Away\u003c/em>. “Shenandoah” is here as a signpost, and Blade’s New Orleans upbringing is applied to a swath of other southern sounds. A good Sunday-morning record to play, after Aretha Franklin’s \u003cem>Amazing Grace\u003c/em>.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/PerfectPussy.jpg\" alt=\"Perfect Pussy\" width=\"300\" height=\"300\">\n\u003ch3>11. Perfect Pussy – \u003cem>Say Yes to Love\u003c/em>\u003c/h3>\n\u003ch5>(Captured Tracks)\u003c/h5>\n\u003cp>I’ll always go for a solid hardcore record with diary-entry lyrics, and \u003cem>Say Yes to Love\u003c/em> is no exception. There’s nothing groundbreaking going on musically, of course, but singer Meredith Graves’ lyrics are so tremendous and, as it goes, very buried in the mix. (When I \u003ca href=\"http://www.sfweekly.com/shookdown/2014/05/27/perfect-pussy-brings-noisy-catharsis-to-rickshaw-stop-5-26-14\" target=\"_blank\" rel=\"noopener\">saw the band in May\u003c/a>, Graves told the soundman to simply “make it as loud and horrible as possible.”) Though not as in-your-face, Perfect Pussy has a fearlessness reminiscent of riot grrrl pioneers Bikini Kill; \u003ca href=\"http://www.wonderingsound.com/feature/tobi-vail-interviews-perfect-pussys-meredith-graves/\" target=\"_blank\" rel=\"noopener\">here you can read a long, in-depth conversation\u003c/a> between Graves and Bikini Kill’s Tobi Vail. I listened to this record for hope, and for strength.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/dAngelo.jpg\" alt=\"D'Angelo\" width=\"300\" height=\"300\">\n\u003ch3>12. D’Angelo – \u003cem>Black Messiah\u003c/em>\u003c/h3>\n\u003ch5>(RCA)\u003c/h5>\n\u003cp>Not that anyone could ever top Beyoncé’s surprise album release last year, but I’ve learned to hold off on these lists until December is mostly spent. And though this album is no \u003cem>Voodoo\u003c/em>, D’Angelo’s sublime, burbling masterwork, it was exactly what the world needed in early December, post-Eric Garner and Mike Brown, post-#BlackLivesMatter changed to #AllLivesMatter. For me, its predecessor wasn’t D’Angelo’s previous work, but having spent the day prior to its release taking part in the Millions March along Market Street. Like many, I downloaded it instantly and played it on repeat until 2:30am. Then I woke up and played it again.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/RAC.jpg\" alt=\"RAC\" width=\"300\" height=\"300\">\n\u003ch3>13. R.A.C. – \u003cem>Strangers\u003c/em>\u003c/h3>\n\u003ch5>(Interscope)\u003c/h5>\n\u003cp>This arrived as a tip from my wife, who favors synthesized dance music from the decade of \u003cem>Say Anything\u003c/em>. This album is pure perfection in that regard, but it’s far from your everyday saccharine retro placebo. With a rotating cast of guest singers, from MNDR to Tegan & Sara, \u003cem>Strangers\u003c/em> toys with modern life’s disconnect (“Tourist”) and the superficial vagaries of fame (“Hollywood”). Of course, there’s a good old-fashioned \u003ca href=\"https://www.youtube.com/watch?v=z6eYhWQyOso\" target=\"_blank\" rel=\"noopener\">ode to driving to the beach\u003c/a>, too. The timelessness to these songs lies in their catchy hooks, and they’re not likely to grow tired for me anytime soon.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/Future.jpg\" alt=\"Future\" width=\"300\" height=\"300\">\n\u003ch3>14. Future – \u003cem>Honest\u003c/em>\u003c/h3>\n\u003ch5>(Freebandz / Epic)\u003c/h5>\n\u003cp>Probably one of the year’s biggest surprise moments was the release of \u003ca href=\"http://www.npr.org/event/music/359661053/t-pain-tiny-desk-concert\" target=\"_blank\" rel=\"noopener\">T-Pain’s Tiny Desk Concert\u003c/a>, where he sang classics like “Buy You a Drank” without the effect of Autotune. This makes sense for T-Pain—after all, he \u003ca href=\"http://www.newyorker.com/culture/culture-desk/the-sadness-of-t-pain\" target=\"_blank\" rel=\"noopener\">expressed sorrow for his reputation’s wreckage\u003c/a>, and was called out personally by Jay-Z in “Death of Autotune”—but most people still don’t understand the software, or how it’s used, sparingly, in nearly every recording now. I’m a fan of the way Future uses it, which was a precursor to Yung Thug and Rich Homie Quan’s use of it, which is to say it makes their cracking voices sound like they’re being struck by lightning. Future has hooks for days, and his music is filled with hope and ambition. When \u003ca href=\"http://www.sfweekly.com/shookdown/2014/07/01/future-overcomes-the-monday-curse-at-regency-ballroom-6-30-14\" target=\"_blank\" rel=\"noopener\">I saw him in July\u003c/a>, every song was a singalong.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/JoyceManor.jpg\" alt=\"Joyce Manor\" width=\"300\" height=\"300\">\n\u003ch3>15. Joyce Manor – \u003cem>Never Hungover Again\u003c/em>\u003c/h3>\n\u003ch5>(Epitaph)\u003c/h5>\n\u003cp>There’s really nothing wrong with being derivative if you do it with enough heart, and though I didn’t know what to make of Joyce Manor at first, seeing them at Amoeba in August turned me into a fan. Melodic kitschy mid-tempo pop-punk, yadda yadda yadda, but when you’re surrounded by \u003ca href=\"https://www.youtube.com/watch?v=cF_dxObR8-8\" target=\"_blank\" rel=\"noopener\">300 people all singing along more loudly than the band\u003c/a>, it’s a little bit infectious. (As a plus, singer Barry Johnson has \u003ca href=\"http://www.imposemagazine.com/features/joyce-manor-favorite-live-performances\" target=\"_blank\" rel=\"noopener\">fantastic taste in YouTube videos\u003c/a>.) These songs are very short, to the point, and stay in your head for days.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/NickiMinaj.jpg\" alt=\"Nicki Minaj\" width=\"300\" height=\"300\">\n\u003ch3>16. Nicki Minaj – \u003cem>The Pinkprint\u003c/em>\u003c/h3>\n\u003ch5>(Young Money)\u003c/h5>\n\u003cp>Nicki Minaj put out a string of terrible singles in 2014, and the way to really appreciate this album is to simply delete them. So much of Nicki in 2014 seemed to be a reaction to critics of \u003cem>Pink Friday: Roman Reloaded\u003c/em>, the best album she’s made, who claimed it was “too pop.” So thanks to Peter Rosenberg, we got “Only.” Trash that song like the garbage it is, along with “Anaconda,” and what’s left is a personal song cycle that’s full of personality, humor, sorrow and cleverness. She’s one of the best rappers alive when she’s on her game, and call me crazy, but she’s a role model for my five year-old daughter. When \u003ca href=\"http://citysound.bohemian.com/2012/08/14/live-review-nicki-minaj-at-the-paramount-theater-oakland/\" target=\"_blank\" rel=\"noopener\">I saw her in Oakland in 2012\u003c/a>, she addressed the young girls in the crowd: “Being a loser is not cool,” she said. “Giving your goodies to every Tom, Dick & Harry is not cool. Being intelligent and ambitious is where it’s at. Men are attracted to ambitious women. Ain’t I right, guys?” This is not Nicki’s best album as a whole, but there’s a lot of bravery on it.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/AngelOlson.jpg\" alt=\"Angel Olsen\" width=\"300\" height=\"300\">\n\u003ch3>17. Angel Olsen – \u003cem>Burn Your Fire for No Witness\u003c/em>\u003c/h3>\n\u003ch5>(Jagjaguwar)\u003c/h5>\n\u003cp>A remarkable album that owes as much to early folk like the Incredible String Band and Fairport Convention as it does the cosmic American music of Will Oldham, with whom Olsen toured, \u003cem>Burn Your Fire\u003c/em> kept finding its way back to my stereo. Filled with mystery and longing, the record is deceptively simple, a trait that attracted advertising companies. In November, \u003ca href=\"http://ww2.kqed.org/arts/2014/11/28/angel-olson-talks-90s-rb-women-in-music-and-her-whirlwind-year/\" target=\"_blank\" rel=\"noopener\">Olsen told KQED\u003c/a> that she’d turned down a healthy sum for her music to be used in a commercial, “because it’s a crappy company, and it’s going to damage my career.” May she reap the rewards twofold for blazing her own trail.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/JamesHoff.jpg\" alt=\"James Hoff\" width=\"300\" height=\"300\">\n\u003ch3>18. James Hoff – \u003cem>Blaster\u003c/em>\u003c/h3>\n\u003ch5>(PAN)\u003c/h5>\n\u003cp>In the pantheon of weird records, one of my favorites is \u003ca href=\"http://www.discogs.com/Disc-Transfer/release/98364\" target=\"_blank\" rel=\"noopener\">Disc’s \u003cem>Transfer\u003c/em>\u003c/a>, which was created by smashing CDs, gluing them back together, putting them in a CD player, pressing “play” and recording the skipping blips and glitches. That was 15 years ago. In 2014, New York artist James Hoff infected 808 beats with \u003ca href=\"http://en.wikipedia.org/wiki/Blaster_%28computer_worm%29\" target=\"_blank\" rel=\"noopener\">the Blaster virus\u003c/a>, recorded the results, and used them as foundations for new compositions. The results are fabulously askew—your cat will hate it. There’s definitely some high art happening here, but it’s also just a riot to listen to. As Hoff himself says \u003ca href=\"http://bombmagazine.org/article/10095/james-hoff\" target=\"_blank\" rel=\"noopener\">in this interview\u003c/a>, “I don’t want the work’s reception necessarily hinged on’“getting it.'” I like that idea.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/MarcRibot.jpg\" alt=\"Marc Ribot\" width=\"300\" height=\"300\">\n\u003ch3>19. Marc Ribot Trio – \u003cem>Live at the Village Vanguard\u003c/em>\u003c/h3>\n\u003ch5>(Pi)\u003c/h5>\n\u003cp>Most know Marc Ribot as The Guy Who Played Guitar on \u003cem>Rain Dogs\u003c/em>, and if you’ve ever heard “Singapore” or “\u003ca href=\"https://www.youtube.com/watch?v=MZ4sK-Q42AU\" target=\"_blank\" rel=\"noopener\">Cemetery Polka\u003c/a>,” you know he has a knack for playing what sound like wrongish notes, just a tiny bit out of bounds. Eric Dolphy did this, David Rawlings does this, and Albert Ayler did this. It’s Ayler we’re concerned with here, since Ribot wisely recruited Henry Grimes, Ayler’s bassist, to join his group. For this recording, the trio play Ayler’s “The Wizard” and “Bells,” John Coltrane’s “Sun Ship” and “Dearly Beloved,” and standards “Old Man River” and “I’m Confessin’ That I Love You.” There’s an intense fire beneath it all, and listening to Ribot’s solos unfold is like watching a Pollock painting take form. I listened to this when I needed to enter a different mindset.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/TaylorSwift.jpg\" alt=\"Taylor Swift\" width=\"300\" height=\"300\">\n\u003ch3>20. Taylor Swift – \u003cem>1989\u003c/em>\u003c/h3>\n\u003ch5>(Big Machine)\u003c/h5>\n\u003cp>Because I grew up in the \u003cem>Thriller\u003c/em> era, \u003ca href=\"http://www.salon.com/2011/09/29/how_niches_killed_culture/\" target=\"_blank\" rel=\"noopener\">I miss the monoculture\u003c/a>. I miss big universal pop moments, like Lionel Richie’s halftime show or the “Like a Prayer” premiere. I also sometimes miss big dumb pop music for the sake of big dumb pop music. That’s why I cringed at the “\u003ca href=\"https://www.youtube.com/watch?v=nfWlot6h_JM\" target=\"_blank\" rel=\"noopener\">Shake it Off\u003c/a>” video but eventually relented to \u003cem>1989\u003c/em>. Isn’t that what pop music does? Annoys you into submission until you sing along, like a \u003ca href=\"https://www.youtube.com/watch?v=QHn6Hgx_sfE\" target=\"_blank\" rel=\"noopener\">bubble gum commercial\u003c/a> jingle? This record doesn’t have the personality of Swift’s earlier albums—it could have been recorded by anybody with a gazillion-dollar budget—but that’s beside the point when you’re reaching for a big pop moment.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/iceage.jpg\" alt=\"Iceage\" width=\"300\" height=\"300\">\n\u003ch3>21. Iceage – \u003cem>Plowing Into the Field of Love\u003c/em>\u003c/h3>\n\u003ch5>(Matador)\u003c/h5>\n\u003cp>Denmark is a cold place, and when you start a band as a teenager there, it’s likely to be a punk band (especially in Copenhagen, with one of the world’s \u003ca href=\"http://en.wikipedia.org/wiki/Freetown_Christiania\" target=\"_blank\" rel=\"noopener\">longest-running squats\u003c/a>). I \u003ca href=\"http://citysound.bohemian.com/2013/03/26/live-review-iceage-at-the-rickshaw-stop/\" target=\"_blank\" rel=\"noopener\">saw Iceage\u003c/a> during this era, and was entranced by the magnetism of lead singer Elias Bender Rønnenfelt, who used the front rows of the audience alternately as a mattress and punching bag. For their third album, Iceage’s malaise is tucked under the surface. A “mature” outing with obvious nods to Nick Cave and even classic country, it’s an eerie listen that always made me feel a little more mortal.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/SageGemini.jpg\" alt=\"Sage the Gemini\" width=\"300\" height=\"300\">\n\u003ch3>22. Sage the Gemini – \u003cem>Remember Me\u003c/em>\u003c/h3>\n\u003ch5>(HBK / Republic)\u003c/h5>\n\u003cp>Yes, I agree that DJ Mustard \u003ca href=\"http://www.vladtv.com/blog/202454/yg-dj-mustard-slam-grammys-for-nomination-snubs/400956/\" target=\"_blank\" rel=\"noopener\">got snubbed\u003c/a> by the Grammys, but I also laugh at \u003ca href=\"https://twitter.com/theRonPerry/status/540951062988226560\" target=\"_blank\" rel=\"noopener\">the notion that he created “a new sound\u003c/a>.” Everyone in the Bay knows where that sound came from, and on \u003cem>Remember Me\u003c/em>, Sage the Gemini perfects the very vibe that Mustard \u003ca href=\"http://imgur.com/gallery/xI2bz\" target=\"_blank\" rel=\"noopener\">routinely dumbs down\u003c/a>. (I say this as a genuine fan of “Don’t Tell ‘Em,” “Who Do You Love,” “24 Hours” and other Mustard productions.) The most well-known member of Richmond’s multi-talented HBK collective, Sage can be playful on the mic or serious, aggressive or understated. It all works over his keen production skills, and the ubiquitous radio hits “Gas Pedal” and “Red Nose” are bound to be played in clubs for the next 10 years. Someday I’ll write a treatise about how Bay Area rap has to claw its way to recognition; in the meantime, this album serves as a reminder of our fertile soil.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/StVincent.jpg\" alt=\"St. Vincent\" width=\"300\" height=\"300\">\n\u003ch3>23. St. Vincent – \u003cem>St. Vincent\u003c/em>\u003c/h3>\n\u003ch5>(Republic)\u003c/h5>\n\u003cp>After a collaborative album with David Byrne, \u003cem>St. Vincent\u003c/em> is Annie Clark’s most Talking Heads-esque album to date. It consists largely of compact pop songs, presented slightly off-kilter, with strange rhythms and memorable melodies. Being less expansive and more accessible than predecessor \u003cem>Strange Mercy\u003c/em> earned this album some enmity from fans, but it’s a thrill to see an artist’s vision so clearly realized. Her tour in 2014 was a whirlwind of strobe lighting, choreography and, of course, \u003ca href=\"https://www.youtube.com/watch?v=mqd9hi7V-rw\" target=\"_blank\" rel=\"noopener\">shredding guitar solos\u003c/a>.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/BlapDeli.jpg\" alt=\"Blap Deli\" width=\"300\" height=\"300\">\n\u003ch3>24. Bläp Dëli – \u003cem>Whispër Më\u003c/em>\u003c/h3>\n\u003ch5>(Pragmatic Theory)\u003c/h5>\n\u003cp>Last I heard, Bläp Dëli’s Emmett Ross-Cole lived on a family heirloom farm in the middle of a vineyard in Sonoma County, which just goes to show that great electronic music can be created anywhere. This album is full of lush, layered soundscapes that create a cerebral, soulful mood; it could fit in easily alongside Los Angeles’ \u003ca href=\"http://www.brainfeedersite.com/\" target=\"_blank\" rel=\"noopener\">Brainfeeder\u003c/a> catalog, or at a \u003ca href=\"http://ninjatune.net/\" target=\"_blank\" rel=\"noopener\">Ninja Tune\u003c/a> showcase. For me, it works as a late-night soundtrack, full of synthesizers and broken beats. Keep your eye on this guy.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/SunKilMoon.jpg\" alt=\"Sun Kil Moon\" width=\"300\" height=\"300\">\n\u003ch3>25. Sun Kil Moon – \u003cem>Benji\u003c/em>\u003c/h3>\n\u003ch5>(Caldo Verde)\u003c/h5>\n\u003cp>I listened to this album exactly once, while driving down Highway 101 in Southern California at night, and I’m never going to listen to it again. That’s because the experience of listening to it once was perfect, like reading a collection of short stories in a cabin somewhere. Why would I taint it with a repeat? These are sad songs of tragedy, death, exploding aerosol cans, teenage sex, hospital beds, cars and alcohol, sung in stark, straightforward fashion by a low, mumbling voice. Because it’s so singular, and so honest, it would be very easy to mock, but the stories are just so incredibly alive and real.\u003c/p>\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>In early November, the Yerba Buena Center for the Arts (YBCA) hosted \u003cstrong>Clas/sick Hip-Hop: 1993 Edition,\u003c/strong> a night of live music featuring over 20 MCs performing new takes on hop-hop hits from 1993, with live instrumentation arranged by two notable Bay Area composers—\u003ca href=\"http://ensemblemiknawooj.com/\" target=\"_blank\" rel=\"noopener\">JooWan Kim\u003c/a> and \u003ca href=\"http://www.ybca.org/artists/kev-choice\" target=\"_blank\" rel=\"noopener\">Kev Choice\u003c/a>. The year’s importance was twofold: not only did YBCA first open its doors in 1993, but hip-hop itself saw serious successes, both artistically and commercially, that led to the form becoming a part of the mainstream.\u003c/p>\n\u003cp>Songs that were performed include Snoop Dogg’s “Gin And Juice,” Digable Planets’ “Rebirth of Slick (Cool Like Dat),” and many others. Read a statement from the curator of the event, Marc Bamuthi Joseph, \u003ca href=\"http://goo.gl/TIgUrh\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. (Also, we asked Joseph to pick his Top 5 hip-hop songs from 1993, which you can read \u003ca href=\"http://ww2.kqed.org/arts/2014/11/05/the-top-five-hip-hop-songs-from-1993-with-marc-bamuthi-joseph/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.)\u003c/p>\n\u003cp>Enjoyed that? Watch this performance, by Ensemble Mik Nawooj, of the Wu-Tang Clan’s “C.R.E.A.M.” from that same night.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=68wQ6g9w2xE\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In early November, the Yerba Buena Center for the Arts (YBCA) hosted \u003cstrong>Clas/sick Hip-Hop: 1993 Edition,\u003c/strong> a night of live music featuring over 20 MCs performing new takes on hop-hop hits from 1993, with live instrumentation arranged by two notable Bay Area composers—\u003ca href=\"http://ensemblemiknawooj.com/\" target=\"_blank\" rel=\"noopener\">JooWan Kim\u003c/a> and \u003ca href=\"http://www.ybca.org/artists/kev-choice\" target=\"_blank\" rel=\"noopener\">Kev Choice\u003c/a>. The year’s importance was twofold: not only did YBCA first open its doors in 1993, but hip-hop itself saw serious successes, both artistically and commercially, that led to the form becoming a part of the mainstream.\u003c/p>\n\u003cp>Songs that were performed include Snoop Dogg’s “Gin And Juice,” Digable Planets’ “Rebirth of Slick (Cool Like Dat),” and many others. Read a statement from the curator of the event, Marc Bamuthi Joseph, \u003ca href=\"http://goo.gl/TIgUrh\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. (Also, we asked Joseph to pick his Top 5 hip-hop songs from 1993, which you can read \u003ca href=\"http://ww2.kqed.org/arts/2014/11/05/the-top-five-hip-hop-songs-from-1993-with-marc-bamuthi-joseph/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.)\u003c/p>\n\u003cp>Enjoyed that? Watch this performance, by Ensemble Mik Nawooj, of the Wu-Tang Clan’s “C.R.E.A.M.” from that same night.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/68wQ6g9w2xE'\n title='//www.youtube.com/embed/68wQ6g9w2xE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>This week saw the release of “Change Gon’ Come,” the latest music video from Gemikia Henderson, a promising 21-year-old director living in Richmond who has clear message she wants to get across.\u003c/p>\n\u003cp>“We wanted to show what young people go through,” she explains, on the phone from Richmond. “How young people see it in the community is the only way you make money is to sell drugs. The only way you can fit in is if you do something you may not be comfortable with. We wanted to show it takes just one person to say no, and to lead people down the right path.”\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=1DiXkpnXbWs]\u003c/p>\n\u003cp>Over a track produced by XaiBeats and featuring Young D, Peeps, DonBlak and BraKeen, the video—a project of the \u003ca href=\"http://www.rysecenter.org/\" target=\"_blank\" rel=\"noopener\">RYSE Center\u003c/a> filmed in various Richmond neighborhoods—unfolds in stark black and white until a pivotal moment that represents hope for a better life.\u003c/p>\n\u003cp>Henderson’s connection to that hope is a personal one. In 2011, she lost her best friend to gun violence. “He knew some people who had did some wrong things, and he reaped the consequences for that by association,” she says. “He was killed because of what other people that he knew did, or whatever he did in the past that he’d let go. But the person who killed him wasn’t gonna let that go.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Whether kids get pigeonholed into the life at a young age, or stuck in the system before they’re teenagers, Henderson says, “No matter what you do, you’ll have to fight to show people, ‘I’m a different person.’”\u003c/p>\n\u003cp>Henderson has either directed or co-directed on two previous projects: “\u003ca href=\"https://www.youtube.com/watch?v=0ft4G6JF5po\" target=\"_blank\" rel=\"noopener\">RYSE Up\u003c/a>,” and “\u003ca href=\"https://www.youtube.com/watch?v=1PHOWoRqCy0\" target=\"_blank\" rel=\"noopener\">Street Literature\u003c/a>,” the latter a reaction to the killings of Oscar Grant and Trayvon Martin.\u003c/p>\n\u003cp>Her next project is a “women’s anthem” music video, with a similar message of empowerment, featuring \u003ca href=\"https://www.youtube.com/watch?v=zWXCW_ogpkM\" target=\"_blank\" rel=\"noopener\">Nya McDowell\u003c/a>, a teenage spoken-word artist who took top honors at the YouthSpeaks Grand Slam Championship on 2012. “Being a female director, being a female rapper, being a female graffiti artist, or a female doctor or nurse—that’s pretty damn dope, and that’s very powerful, because a lot of those things are male-dominated,” she says. “So we wanna show young women that you can step up, and lead in your role, and be the queen that you are.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As for the long term? Henderson’s currently writing her first short feature film, “and hopefully I’ll get it into Sundance by the end of the year.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This week saw the release of “Change Gon’ Come,” the latest music video from Gemikia Henderson, a promising 21-year-old director living in Richmond who has clear message she wants to get across.\u003c/p>\n\u003cp>“We wanted to show what young people go through,” she explains, on the phone from Richmond. “How young people see it in the community is the only way you make money is to sell drugs. The only way you can fit in is if you do something you may not be comfortable with. We wanted to show it takes just one person to say no, and to lead people down the right path.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/1DiXkpnXbWs'\n title='//www.youtube.com/embed/1DiXkpnXbWs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Over a track produced by XaiBeats and featuring Young D, Peeps, DonBlak and BraKeen, the video—a project of the \u003ca href=\"http://www.rysecenter.org/\" target=\"_blank\" rel=\"noopener\">RYSE Center\u003c/a> filmed in various Richmond neighborhoods—unfolds in stark black and white until a pivotal moment that represents hope for a better life.\u003c/p>\n\u003cp>Henderson’s connection to that hope is a personal one. In 2011, she lost her best friend to gun violence. “He knew some people who had did some wrong things, and he reaped the consequences for that by association,” she says. “He was killed because of what other people that he knew did, or whatever he did in the past that he’d let go. But the person who killed him wasn’t gonna let that go.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Whether kids get pigeonholed into the life at a young age, or stuck in the system before they’re teenagers, Henderson says, “No matter what you do, you’ll have to fight to show people, ‘I’m a different person.’”\u003c/p>\n\u003cp>Henderson has either directed or co-directed on two previous projects: “\u003ca href=\"https://www.youtube.com/watch?v=0ft4G6JF5po\" target=\"_blank\" rel=\"noopener\">RYSE Up\u003c/a>,” and “\u003ca href=\"https://www.youtube.com/watch?v=1PHOWoRqCy0\" target=\"_blank\" rel=\"noopener\">Street Literature\u003c/a>,” the latter a reaction to the killings of Oscar Grant and Trayvon Martin.\u003c/p>\n\u003cp>Her next project is a “women’s anthem” music video, with a similar message of empowerment, featuring \u003ca href=\"https://www.youtube.com/watch?v=zWXCW_ogpkM\" target=\"_blank\" rel=\"noopener\">Nya McDowell\u003c/a>, a teenage spoken-word artist who took top honors at the YouthSpeaks Grand Slam Championship on 2012. “Being a female director, being a female rapper, being a female graffiti artist, or a female doctor or nurse—that’s pretty damn dope, and that’s very powerful, because a lot of those things are male-dominated,” she says. “So we wanna show young women that you can step up, and lead in your role, and be the queen that you are.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As for the long term? Henderson’s currently writing her first short feature film, “and hopefully I’ll get it into Sundance by the end of the year.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Listen to The Noise Pop Podcast picks for the best songs of 2014, including tracks by Future Islands, Lykke Li, Perfume Genius, Jessie Ware, ProtoMartyr and more.\u003c/h4>\n\u003cp>http://traffic.libsyn.com/noisepop/Best_Songs_of_2014.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>It’s been one hell of a year for music. On this episode we take a look back at the trends that emerged in 2014, the artists who stood out, and the songs we loved. We also chat with some of our favorite artists and guests, including Washed Out, Lindsay Zoladz of \u003cem>New York Magazine\u003c/em>, St. Lucia and BANKS, who share their picks for favorite track of 2014. Enjoy the episode, and have a happy new year!\u003c/p>\n\u003cp>\u003cspan style=\"text-decoration: underline\">Track Listing:\u003c/span>\u003c/p>\n\u003col>\n\u003cli>“Lemonade” – Sophie, \u003cem>Single\u003c/em> (Painted Palm’s Pick)\u003c/li>\n\u003cli>“Scum, Rise” – ProtoMartyr, \u003cem>Under Color of Official Right\u003c/em> (Dawson Ludwig’s Pick)\u003c/li>\n\u003cli>“A Place Like This” – Majid Jordan, \u003cem>A Place Like This (EP)\u003c/em> (BANKS’ Pick)\u003c/li>\n\u003cli>“Silver Line” – Lykke Li, \u003cem>I Never Learn\u003c/em> (St. Lucia’s Pick)\u003c/li>\n\u003cli>“Birthday Song” – Frankie Cosmos, \u003cem> Zentropy\u003c/em> (Rose Ludwig’s Pick)\u003c/li>\n\u003cli>“Heavenly Father” – Bon Iver, \u003cem>Wish I Was Here Soundtrack\u003c/em> (Asgeir’s Pick)\u003c/li>\n\u003cli>“Passing Out Pieces” – Mac DeMarco, \u003cem>Salad Days\u003c/em> (The Growler’s Pick)\u003c/li>\n\u003cli>“Say Your Love Me” – Jessie Ware, \u003cem>Tough Love\u003c/em> (Jesse David Fox’s Pick)\u003c/li>\n\u003cli>“Flawless (Remix)” – Beyoncé featuring Nicki Minaj, \u003cem>Single\u003c/em> (Lindsay Zoladz’ s Pick)\u003c/li>\n\u003cli>“Trainwreck 1979” – Death From Above 1979, \u003cem>The Physical World\u003c/em> (Casey Newlin’s Pick)\u003c/li>\n\u003cli>“Queen” – Perfume Genius, \u003cem>Too Bright\u003c/em> (David Steele’s Pick)\u003c/li>\n\u003cli>“Seasons (Waiting On You)” – Future Islands, \u003cem>Singles\u003c/em> (Washed Out’s Pick)\u003c/li>\n\u003cli>“Two Weeks” – FKA Twigs, \u003cem>LP1\u003c/em> (Noise Pop’s Pick)\u003c/li>\n\u003c/ol>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>Listen to The Noise Pop Podcast picks for the best songs of 2014, including tracks by Future Islands, Lykke Li, Perfume Genius, Jessie Ware, ProtoMartyr and more.\u003c/h4>\n\u003cp>http://traffic.libsyn.com/noisepop/Best_Songs_of_2014.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>It’s been one hell of a year for music. On this episode we take a look back at the trends that emerged in 2014, the artists who stood out, and the songs we loved. We also chat with some of our favorite artists and guests, including Washed Out, Lindsay Zoladz of \u003cem>New York Magazine\u003c/em>, St. Lucia and BANKS, who share their picks for favorite track of 2014. Enjoy the episode, and have a happy new year!\u003c/p>\n\u003cp>\u003cspan style=\"text-decoration: underline\">Track Listing:\u003c/span>\u003c/p>\n\u003col>\n\u003cli>“Lemonade” – Sophie, \u003cem>Single\u003c/em> (Painted Palm’s Pick)\u003c/li>\n\u003cli>“Scum, Rise” – ProtoMartyr, \u003cem>Under Color of Official Right\u003c/em> (Dawson Ludwig’s Pick)\u003c/li>\n\u003cli>“A Place Like This” – Majid Jordan, \u003cem>A Place Like This (EP)\u003c/em> (BANKS’ Pick)\u003c/li>\n\u003cli>“Silver Line” – Lykke Li, \u003cem>I Never Learn\u003c/em> (St. Lucia’s Pick)\u003c/li>\n\u003cli>“Birthday Song” – Frankie Cosmos, \u003cem> Zentropy\u003c/em> (Rose Ludwig’s Pick)\u003c/li>\n\u003cli>“Heavenly Father” – Bon Iver, \u003cem>Wish I Was Here Soundtrack\u003c/em> (Asgeir’s Pick)\u003c/li>\n\u003cli>“Passing Out Pieces” – Mac DeMarco, \u003cem>Salad Days\u003c/em> (The Growler’s Pick)\u003c/li>\n\u003cli>“Say Your Love Me” – Jessie Ware, \u003cem>Tough Love\u003c/em> (Jesse David Fox’s Pick)\u003c/li>\n\u003cli>“Flawless (Remix)” – Beyoncé featuring Nicki Minaj, \u003cem>Single\u003c/em> (Lindsay Zoladz’ s Pick)\u003c/li>\n\u003cli>“Trainwreck 1979” – Death From Above 1979, \u003cem>The Physical World\u003c/em> (Casey Newlin’s Pick)\u003c/li>\n\u003cli>“Queen” – Perfume Genius, \u003cem>Too Bright\u003c/em> (David Steele’s Pick)\u003c/li>\n\u003cli>“Seasons (Waiting On You)” – Future Islands, \u003cem>Singles\u003c/em> (Washed Out’s Pick)\u003c/li>\n\u003cli>“Two Weeks” – FKA Twigs, \u003cem>LP1\u003c/em> (Noise Pop’s Pick)\u003c/li>\n\u003c/ol>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Fourteen for 2014: The Best Songs from the Bay",
"headTitle": "Fourteen for 2014: The Best Songs from the Bay | KQED",
"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Listen to The Bay Bridged picks for the best songs by Bay Area bands in 2014, including tracks by K.Flay, The She’s, tUnE-yArDs, Cathedrals, Painted Palms and more.\u003c/h4>\n\u003cp>http://media.libsyn.com/media/thebaybridged/2014_Highlights_Mix.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>In 2014, Bay Area artists released a wealth of great records, with highlights coming in an array of genres: garage pop, indie rock, electronic pop, and hip hop. The year brought new acclaim to ascendant locals like \u003ca href=\"https://www.facebook.com/tuneyards\">tUnE-yArDs\u003c/a> and \u003ca href=\"https://www.facebook.com/tychomusic\">Tycho\u003c/a>, the latter of whom just released a deluxe version of his stellar 2014 album, \u003cem>Awake\u003c/em>. Also on the rise are \u003ca href=\"https://www.facebook.com/thefamilycrest\">The Family Crest\u003c/a>, who grabbed well-deserved NPR attention for their sophomore LP, \u003cem>Beneath the Brine\u003c/em>.\u003c/p>\n\u003cp>It was also a year of impressive debuts. \u003ca href=\"https://www.facebook.com/WeAreCathedrals\">Cathedrals\u003c/a> built a strong following with the release of several singles culminating in the group’s debut EP. \u003ca href=\"https://www.facebook.com/Happydivingca\">Happy Diving\u003c/a> offered up both an EP and an LP this year; the group’s noisy, energetic indie rock make them one to watch in the year to come. Other new bands we loved this year? The fuzzy indie rock of \u003ca href=\"https://www.facebook.com/couchessf\">Couches\u003c/a>‘ debut EP and the addictive “slop pop” of \u003ca href=\"https://www.facebook.com/cocktails.the.band\">Cocktails\u003c/a>.\u003c/p>\n\u003cp>2014 also brought some long-awaited follow-ups from locals we’ve long dug. \u003ca href=\"https://www.facebook.com/kflaymusic\">K.Flay\u003c/a> suffered in major label limbo for what seemed like forever before breaking free this year. Her crowdfunded LP \u003cem>Life as a Dog\u003c/em> is both a strong record and yet another good reason to question the judgment of major labels. \u003ca href=\"https://www.facebook.com/theshesmusic\">The She’s\u003c/a> returned this year with their first new set of songs in almost three years. On the \u003cem>Dreamers\u003c/em> EP, the band’s delightful vocal harmonies remain, but the new songs feel like a clear step forward. Speaking of moving forward, \u003ca href=\"https://www.facebook.com/paintedpalms\">Painted Palms\u003c/a>‘ \u003cem>Forever\u003c/em> took the group’s electronic pop to new, wonderfully psychedelic heights.\u003c/p>\n\u003cp>A number of other great albums caught our ears this year, from \u003ca href=\"https://www.facebook.com/ilovedoeeye\">Doe Eye\u003c/a>‘s John Vanderslice-produced album, \u003cem>T E L E V I S I O N\u003c/em> to \u003ca href=\"http://www.koolad.asia/\">Kool A.D.\u003c/a>‘s most recent offering, \u003cem>Word O.K.\u003c/em> and the intense post-punk of \u003ca href=\"https://www.facebook.com/CreativeAdult\">Creative Adult\u003c/a>. \u003c/p>\n\u003cp>This mixtape collects fourteen songs from albums released in 2014 by San Francisco Bay Area artists. It isn’t meant to be the comprehensive list of the great Bay Area records offered this year, and, all told, there’s no easy way to pigeonhole this year, or any year in local music. The Bay Area’s independent music scene is simply too big, too prolific, and too diverse, which, ultimately, is a very good thing. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"text-decoration: underline\">About the Bands:\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/paintedpalms\">Painted Palms\u003c/a> – “Hypnotic”\u003cbr>\n\u003ca href=\"https://www.facebook.com/thefamilycrest\">The Family Crest\u003c/a> – “The World”\u003cbr>\n\u003ca href=\"https://www.facebook.com/theshesmusic\">The She’s\u003c/a> – “My Secret to Keep”\u003cbr>\n\u003ca href=\"https://www.facebook.com/cocktails.the.band\">Cocktails\u003c/a> – “Tough Love”\u003cbr>\n\u003ca href=\"https://www.facebook.com/tychomusic\">Tycho\u003c/a> – “Montana”\u003cbr>\n\u003ca href=\"https://www.facebook.com/kflaymusic\">K.Flay\u003c/a> – “Make Me Fade”\u003cbr>\n\u003ca href=\"https://www.facebook.com/WeAreCathedrals\">Cathedrals\u003c/a> – “OOO AAA”\u003cbr>\n\u003ca href=\"https://www.facebook.com/wetdreamsdrymagic\">Luke Sweeney\u003c/a> – “Open Those Savage Eyes”\u003cbr>\n\u003ca href=\"https://www.facebook.com/couchessf\">Couches\u003c/a> – “Train Of Thought”\u003cbr>\n\u003ca href=\"https://www.facebook.com/ilovedoeeye\">Doe Eye\u003c/a> – “Stay in the Past”\u003cbr>\n\u003ca href=\"https://www.facebook.com/tuneyards\">tUnE-yArDs\u003c/a> – “Water Fountain”\u003cbr>\n\u003ca href=\"http://www.koolad.asia/\">Kool A.D.\u003c/a> – “The Front (feat. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>Listen to The Bay Bridged picks for the best songs by Bay Area bands in 2014, including tracks by K.Flay, The She’s, tUnE-yArDs, Cathedrals, Painted Palms and more.\u003c/h4>\n\u003cp>http://media.libsyn.com/media/thebaybridged/2014_Highlights_Mix.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>In 2014, Bay Area artists released a wealth of great records, with highlights coming in an array of genres: garage pop, indie rock, electronic pop, and hip hop. The year brought new acclaim to ascendant locals like \u003ca href=\"https://www.facebook.com/tuneyards\">tUnE-yArDs\u003c/a> and \u003ca href=\"https://www.facebook.com/tychomusic\">Tycho\u003c/a>, the latter of whom just released a deluxe version of his stellar 2014 album, \u003cem>Awake\u003c/em>. Also on the rise are \u003ca href=\"https://www.facebook.com/thefamilycrest\">The Family Crest\u003c/a>, who grabbed well-deserved NPR attention for their sophomore LP, \u003cem>Beneath the Brine\u003c/em>.\u003c/p>\n\u003cp>It was also a year of impressive debuts. \u003ca href=\"https://www.facebook.com/WeAreCathedrals\">Cathedrals\u003c/a> built a strong following with the release of several singles culminating in the group’s debut EP. \u003ca href=\"https://www.facebook.com/Happydivingca\">Happy Diving\u003c/a> offered up both an EP and an LP this year; the group’s noisy, energetic indie rock make them one to watch in the year to come. Other new bands we loved this year? The fuzzy indie rock of \u003ca href=\"https://www.facebook.com/couchessf\">Couches\u003c/a>‘ debut EP and the addictive “slop pop” of \u003ca href=\"https://www.facebook.com/cocktails.the.band\">Cocktails\u003c/a>.\u003c/p>\n\u003cp>2014 also brought some long-awaited follow-ups from locals we’ve long dug. \u003ca href=\"https://www.facebook.com/kflaymusic\">K.Flay\u003c/a> suffered in major label limbo for what seemed like forever before breaking free this year. Her crowdfunded LP \u003cem>Life as a Dog\u003c/em> is both a strong record and yet another good reason to question the judgment of major labels. \u003ca href=\"https://www.facebook.com/theshesmusic\">The She’s\u003c/a> returned this year with their first new set of songs in almost three years. On the \u003cem>Dreamers\u003c/em> EP, the band’s delightful vocal harmonies remain, but the new songs feel like a clear step forward. Speaking of moving forward, \u003ca href=\"https://www.facebook.com/paintedpalms\">Painted Palms\u003c/a>‘ \u003cem>Forever\u003c/em> took the group’s electronic pop to new, wonderfully psychedelic heights.\u003c/p>\n\u003cp>A number of other great albums caught our ears this year, from \u003ca href=\"https://www.facebook.com/ilovedoeeye\">Doe Eye\u003c/a>‘s John Vanderslice-produced album, \u003cem>T E L E V I S I O N\u003c/em> to \u003ca href=\"http://www.koolad.asia/\">Kool A.D.\u003c/a>‘s most recent offering, \u003cem>Word O.K.\u003c/em> and the intense post-punk of \u003ca href=\"https://www.facebook.com/CreativeAdult\">Creative Adult\u003c/a>. \u003c/p>\n\u003cp>This mixtape collects fourteen songs from albums released in 2014 by San Francisco Bay Area artists. It isn’t meant to be the comprehensive list of the great Bay Area records offered this year, and, all told, there’s no easy way to pigeonhole this year, or any year in local music. The Bay Area’s independent music scene is simply too big, too prolific, and too diverse, which, ultimately, is a very good thing. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"text-decoration: underline\">About the Bands:\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/paintedpalms\">Painted Palms\u003c/a> – “Hypnotic”\u003cbr>\n\u003ca href=\"https://www.facebook.com/thefamilycrest\">The Family Crest\u003c/a> – “The World”\u003cbr>\n\u003ca href=\"https://www.facebook.com/theshesmusic\">The She’s\u003c/a> – “My Secret to Keep”\u003cbr>\n\u003ca href=\"https://www.facebook.com/cocktails.the.band\">Cocktails\u003c/a> – “Tough Love”\u003cbr>\n\u003ca href=\"https://www.facebook.com/tychomusic\">Tycho\u003c/a> – “Montana”\u003cbr>\n\u003ca href=\"https://www.facebook.com/kflaymusic\">K.Flay\u003c/a> – “Make Me Fade”\u003cbr>\n\u003ca href=\"https://www.facebook.com/WeAreCathedrals\">Cathedrals\u003c/a> – “OOO AAA”\u003cbr>\n\u003ca href=\"https://www.facebook.com/wetdreamsdrymagic\">Luke Sweeney\u003c/a> – “Open Those Savage Eyes”\u003cbr>\n\u003ca href=\"https://www.facebook.com/couchessf\">Couches\u003c/a> – “Train Of Thought”\u003cbr>\n\u003ca href=\"https://www.facebook.com/ilovedoeeye\">Doe Eye\u003c/a> – “Stay in the Past”\u003cbr>\n\u003ca href=\"https://www.facebook.com/tuneyards\">tUnE-yArDs\u003c/a> – “Water Fountain”\u003cbr>\n\u003ca href=\"http://www.koolad.asia/\">Kool A.D.\u003c/a> – “The Front (feat. Toro Y Moi and Amaze 88)”\u003cbr>\n\u003ca href=\"https://www.facebook.com/CreativeAdult\">Creative Adult\u003c/a> – “Public Transit”\u003cbr>\n\u003ca href=\"https://www.facebook.com/Happydivingca\">Happy Diving\u003c/a> – “Weird Dream”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Classical Goes Clubbing: SoundBox Makes Timeless Music Feel Brand New",
"headTitle": "Classical Goes Clubbing: SoundBox Makes Timeless Music Feel Brand New | KQED",
"content": "\u003cp>What in the world is SoundBox?\u003c/p>\n\u003cp>That very question was on the minds of the fans who lined up Saturday night, along Franklin Street, for a first glimpse of San Francisco Symphony’s new performance space and music series. “Excuse me,” I overheard a woman a few feet behind me ask, “do you know what this is that we have tickets for?”\u003c/p>\n\u003cp>“Not really,” replied a man’s voice, “but it’s supposed to be really cool.”\u003c/p>\n\u003cp>With virtually no advertising aside from street graffiti stencils, social media and word of mouth, SoundBox certainly arrived with an air of mystery. Was it a club? A chamber concert? Whatever it was, the majority prediction had already framed it as the Symphony’s attempt to attract younger people to classical music, a goal toward which the world has seen plenty of awkward or even downright embarrassing attempts, by other outfits: \u003ca href=\"https://www.youtube.com/watch?v=hzejgj_UghI\" target=\"_blank\" rel=\"noopener\">symphonic renditions of \u003cem>Grand Theft Auto\u003c/em>\u003c/a>, incessant \u003ca href=\"http://www.amazon.com/s/ref=nb_sb_noss_1?url=search-alias%3Daps&field-keywords=string+quartet+tribute\" target=\"_blank\" rel=\"noopener\">string-quartet tributes\u003c/a>, and even a \u003ca href=\"https://www.youtube.com/watch?v=w59e20ijOpE\" target=\"_blank\" rel=\"noopener\">Sir Mix-a-Lot twerkfest with symphony orchestra\u003c/a>.\u003c/p>\n\u003cp>And yet amidst these predecessors, \u003ca href=\"http://sfsoundbox.com/\" target=\"_blank\" rel=\"noopener\">SoundBox\u003c/a> succeeds on every level, both demographically and artistically. The brainchild of Symphony music director and conductor Michael Tilson Thomas, it’s simultaneously a concert series, warehouse party, experimental workshop, nightclub and sound immersion. It takes classical music from all eras and presents it squarely in the modern day, with cocktails, freedom to wander about and phone and tablet use encouraged. It’s the most comfortable way for many to experience classical music. It’s also the perfect date night. And yes, it’s the coolest thing on the block.\u003c/p>\n\u003cfigure id=\"attachment_10217548\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10217548\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/SoundBox.Ceiling-400x600.jpg\" alt=\"(Photo: Stefan Cohen)\" width=\"400\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/SoundBox.Ceiling-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/SoundBox.Ceiling-399x600.jpg 399w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/SoundBox.Ceiling.jpg 500w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">(Photo: Stefan Cohen)\u003c/figcaption>\u003c/figure>\n\u003cp>On Saturday night, after entering, patrons who’d paid $25 per ticket crossed a catwalk over a desert landscape while ambient \u003cem>thwonks\u003c/em> and \u003cem>whooshes\u003c/em> filled the entryway. The cacti, bushes and shells below, wired for sound, shook and rattled at the hands of three musicians performing John Cage’s \u003cem>Branches\u003c/em>. These sounds also resonated throughout the 7,600 sq.-ft. main room, which contained a bar at one end, a stage on two sides, seating at low tables in the center, high tables around the perimeter, three large projection screens and atmospheric blue lighting cascading upward along exposed concrete and steel beams, all of which rose to an incredible 50 ft.-high ceiling.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Such was the visual transformation of Zellerbach Rehearsal Hall A, essentially the bare-bones underbelly of Davies Symphony Hall. Acoustically, the room required some transformation, too—as Tilson Thomas noted in his introduction, it’s “one of the deadest places in the world to hear music.” Enter \u003ca href=\"https://www.sfcv.org/article/the-digital-system-that-fixes-concert-hall-sound\" target=\"_blank\" rel=\"noopener\">Meyer Sound’s Constellation system\u003c/a>, with 25 microphones and 85 speakers, which provided a complete retuning of the room’s acoustics at the click of a laptop. Every piece received a different acoustic treatment, from the cathedral to the recording studio, to fit its sound.\u003c/p>\n\u003cp>And then there was the program, which in its sheer variety had something for everyone. Curated by Tilson Thomas, the evening began in 14th-Century Spain with “Stella Splendens in Monte” from the \u003cem>Llibre Vermell de Montserrat\u003c/em>, sung by choir members entering the back of the room and walking through the crowd. From there, the night straddled the traditional and the avant-garde without once seeming eclectic for eclecticism’s sake—not even when Ravel’s \u003cem>Introduction and Allegro\u003c/em> (performed to perfection before a projection of Monet’s \u003cem>Waterlilies\u003c/em> and highlighted by harpist Doug Rioth’s breathtaking cadenza) came immediately on the heels of the Steina film \u003cem>Voice Windows\u003c/em>, featuring wild vocal calisthenics by Joan La Barbara.\u003c/p>\n\u003cp>Symphony communications director Oliver Thiel told me before the program that “we wanted to see if we could get a crowd that wouldn’t go to Davies,” and to that end, each piece selected by Tilson Thomas provided a window in for fans of different music. Electronic producers or DJs would have found a great kinship in the quintet performance of Steve Reich’s rhythmic, repetitive \u003cem>Music for Pieces of Wood\u003c/em>. Any fan of art-rock indie bands like Deerhoof or Dirty Projectors would have thrilled at the choreographed stomping and yelping of Meredith Monk’s \u003cem>Panda Chant II\u003c/em>. Even Edgar Varèse’s \u003ca href=\"https://www.youtube.com/watch?v=HsVkg-VtiEE\" target=\"_blank\" rel=\"noopener\">\u003cem>Intégrales\u003c/em>\u003c/a>, an exercise in bulbously despairing trombones, off-time cymbal crashes and a mutiny of clarinets, contained the type of furious drums and horn stabs that are so common in current hip-hop production.\u003c/p>\n\u003cfigure id=\"attachment_10217549\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10217549\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/SoundBox.Reich_-800x532.jpg\" alt=\"Members of SF Symphony's percussion section (L-R: Tom Hemphill, James Lee Wyatt III, Victor Avdienko, Jacob Nissly, Raymond Froehlich) perform Steve Reich’s 'Music for Pieces of Wood.' (Photo: Stefan Cohen)\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/SoundBox.Reich_-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/SoundBox.Reich_-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/SoundBox.Reich_.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Members of SF Symphony’s percussion section (L-R: Tom Hemphill, James Lee Wyatt III, Victor Avdienko, Jacob Nissly, Raymond Froehlich) perform Steve Reich’s ‘Music for Pieces of Wood.’ (Photo: Stefan Cohen)\u003c/figcaption>\u003c/figure>\n\u003cp>As if the atmosphere couldn’t have been any more casual, during one intermission, a choir member walked up to me and handed over his black folder of music. “So, they told us to walk out into the audience and hand out our sheet music, so people could sing.” I looked at him quizzically. “After a few cocktails,” he urged, “it’s really not that hard.”\u003c/p>\n\u003cp>His quick smile let me know that he was joking, and we shared a laugh, but the fact that his proposal was entirely believable speaks to the anything-goes nature of the night.\u003c/p>\n\u003cp>At the end of the final intermission, signaled by \u003ca href=\"https://www.youtube.com/watch?v=lzkOFJMI5i8\" target=\"_blank\" rel=\"noopener\">Reich’s \u003cem>Clapping Music\u003c/em>\u003c/a> in surround sound instead of blinking lobby lights, Tilson Thomas conducted Monteverdi’s \u003cem>Magnificat\u003c/em>, from \u003cem>Vespro della Beata Vergine\u003c/em>. One of his self-described “desert island” pieces, it fit the room in ways that it wouldn’t have fit at Davies. And as the beauty of the choir’s soloists washed over the crowd, I noticed a spilled drink at Tilson Thomas’ feet, which is just about the best image I can conjure for the working juxtaposition of the night.\u003c/p>\n\u003cp>And how did it feel for Tilson Thomas, test-driving the premiere of SoundBox?\u003c/p>\n\u003cp>“There are a lot of different steps to go through in making something like this happen, and there are times, when you’re in the middle of it, when you think it’s \u003cem>never\u003c/em> going to happen,” the conductor told me, just after stepping from the small, 18-inch high stage and mingling with the crowd. “So it was tremendously rewarding to feel the response of the audience—many of them who’ve probably never heard any of these pieces before—and to have this kind of spontaneous reaction to what classical music really can be.”\u003c/p>\n\u003cfigure id=\"attachment_10217547\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10217547\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/Soundbox.MTT_-800x533.jpg\" alt=\"Michael Tilson Thomas with members of the SF Symphony and Chorus. (Photo: Stefan Cohen)\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/Soundbox.MTT_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/Soundbox.MTT_-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/Soundbox.MTT_.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michael Tilson Thomas with members of the SF Symphony and Chorus. (Photo: Stefan Cohen)\u003c/figcaption>\u003c/figure>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>SoundBox returns Friday and Saturday, Jan. 9-10. Tickets go on sale Monday, Dec. 15. For more info., see \u003ca href=\"http://sfsoundbox.com/\" target=\"_blank\" rel=\"noopener\">SoundBox’s site\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What in the world is SoundBox?\u003c/p>\n\u003cp>That very question was on the minds of the fans who lined up Saturday night, along Franklin Street, for a first glimpse of San Francisco Symphony’s new performance space and music series. “Excuse me,” I overheard a woman a few feet behind me ask, “do you know what this is that we have tickets for?”\u003c/p>\n\u003cp>“Not really,” replied a man’s voice, “but it’s supposed to be really cool.”\u003c/p>\n\u003cp>With virtually no advertising aside from street graffiti stencils, social media and word of mouth, SoundBox certainly arrived with an air of mystery. Was it a club? A chamber concert? Whatever it was, the majority prediction had already framed it as the Symphony’s attempt to attract younger people to classical music, a goal toward which the world has seen plenty of awkward or even downright embarrassing attempts, by other outfits: \u003ca href=\"https://www.youtube.com/watch?v=hzejgj_UghI\" target=\"_blank\" rel=\"noopener\">symphonic renditions of \u003cem>Grand Theft Auto\u003c/em>\u003c/a>, incessant \u003ca href=\"http://www.amazon.com/s/ref=nb_sb_noss_1?url=search-alias%3Daps&field-keywords=string+quartet+tribute\" target=\"_blank\" rel=\"noopener\">string-quartet tributes\u003c/a>, and even a \u003ca href=\"https://www.youtube.com/watch?v=w59e20ijOpE\" target=\"_blank\" rel=\"noopener\">Sir Mix-a-Lot twerkfest with symphony orchestra\u003c/a>.\u003c/p>\n\u003cp>And yet amidst these predecessors, \u003ca href=\"http://sfsoundbox.com/\" target=\"_blank\" rel=\"noopener\">SoundBox\u003c/a> succeeds on every level, both demographically and artistically. The brainchild of Symphony music director and conductor Michael Tilson Thomas, it’s simultaneously a concert series, warehouse party, experimental workshop, nightclub and sound immersion. It takes classical music from all eras and presents it squarely in the modern day, with cocktails, freedom to wander about and phone and tablet use encouraged. It’s the most comfortable way for many to experience classical music. It’s also the perfect date night. And yes, it’s the coolest thing on the block.\u003c/p>\n\u003cfigure id=\"attachment_10217548\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10217548\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/SoundBox.Ceiling-400x600.jpg\" alt=\"(Photo: Stefan Cohen)\" width=\"400\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/SoundBox.Ceiling-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/SoundBox.Ceiling-399x600.jpg 399w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/SoundBox.Ceiling.jpg 500w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">(Photo: Stefan Cohen)\u003c/figcaption>\u003c/figure>\n\u003cp>On Saturday night, after entering, patrons who’d paid $25 per ticket crossed a catwalk over a desert landscape while ambient \u003cem>thwonks\u003c/em> and \u003cem>whooshes\u003c/em> filled the entryway. The cacti, bushes and shells below, wired for sound, shook and rattled at the hands of three musicians performing John Cage’s \u003cem>Branches\u003c/em>. These sounds also resonated throughout the 7,600 sq.-ft. main room, which contained a bar at one end, a stage on two sides, seating at low tables in the center, high tables around the perimeter, three large projection screens and atmospheric blue lighting cascading upward along exposed concrete and steel beams, all of which rose to an incredible 50 ft.-high ceiling.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Such was the visual transformation of Zellerbach Rehearsal Hall A, essentially the bare-bones underbelly of Davies Symphony Hall. Acoustically, the room required some transformation, too—as Tilson Thomas noted in his introduction, it’s “one of the deadest places in the world to hear music.” Enter \u003ca href=\"https://www.sfcv.org/article/the-digital-system-that-fixes-concert-hall-sound\" target=\"_blank\" rel=\"noopener\">Meyer Sound’s Constellation system\u003c/a>, with 25 microphones and 85 speakers, which provided a complete retuning of the room’s acoustics at the click of a laptop. Every piece received a different acoustic treatment, from the cathedral to the recording studio, to fit its sound.\u003c/p>\n\u003cp>And then there was the program, which in its sheer variety had something for everyone. Curated by Tilson Thomas, the evening began in 14th-Century Spain with “Stella Splendens in Monte” from the \u003cem>Llibre Vermell de Montserrat\u003c/em>, sung by choir members entering the back of the room and walking through the crowd. From there, the night straddled the traditional and the avant-garde without once seeming eclectic for eclecticism’s sake—not even when Ravel’s \u003cem>Introduction and Allegro\u003c/em> (performed to perfection before a projection of Monet’s \u003cem>Waterlilies\u003c/em> and highlighted by harpist Doug Rioth’s breathtaking cadenza) came immediately on the heels of the Steina film \u003cem>Voice Windows\u003c/em>, featuring wild vocal calisthenics by Joan La Barbara.\u003c/p>\n\u003cp>Symphony communications director Oliver Thiel told me before the program that “we wanted to see if we could get a crowd that wouldn’t go to Davies,” and to that end, each piece selected by Tilson Thomas provided a window in for fans of different music. Electronic producers or DJs would have found a great kinship in the quintet performance of Steve Reich’s rhythmic, repetitive \u003cem>Music for Pieces of Wood\u003c/em>. Any fan of art-rock indie bands like Deerhoof or Dirty Projectors would have thrilled at the choreographed stomping and yelping of Meredith Monk’s \u003cem>Panda Chant II\u003c/em>. Even Edgar Varèse’s \u003ca href=\"https://www.youtube.com/watch?v=HsVkg-VtiEE\" target=\"_blank\" rel=\"noopener\">\u003cem>Intégrales\u003c/em>\u003c/a>, an exercise in bulbously despairing trombones, off-time cymbal crashes and a mutiny of clarinets, contained the type of furious drums and horn stabs that are so common in current hip-hop production.\u003c/p>\n\u003cfigure id=\"attachment_10217549\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10217549\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/SoundBox.Reich_-800x532.jpg\" alt=\"Members of SF Symphony's percussion section (L-R: Tom Hemphill, James Lee Wyatt III, Victor Avdienko, Jacob Nissly, Raymond Froehlich) perform Steve Reich’s 'Music for Pieces of Wood.' (Photo: Stefan Cohen)\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/SoundBox.Reich_-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/SoundBox.Reich_-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/SoundBox.Reich_.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Members of SF Symphony’s percussion section (L-R: Tom Hemphill, James Lee Wyatt III, Victor Avdienko, Jacob Nissly, Raymond Froehlich) perform Steve Reich’s ‘Music for Pieces of Wood.’ (Photo: Stefan Cohen)\u003c/figcaption>\u003c/figure>\n\u003cp>As if the atmosphere couldn’t have been any more casual, during one intermission, a choir member walked up to me and handed over his black folder of music. “So, they told us to walk out into the audience and hand out our sheet music, so people could sing.” I looked at him quizzically. “After a few cocktails,” he urged, “it’s really not that hard.”\u003c/p>\n\u003cp>His quick smile let me know that he was joking, and we shared a laugh, but the fact that his proposal was entirely believable speaks to the anything-goes nature of the night.\u003c/p>\n\u003cp>At the end of the final intermission, signaled by \u003ca href=\"https://www.youtube.com/watch?v=lzkOFJMI5i8\" target=\"_blank\" rel=\"noopener\">Reich’s \u003cem>Clapping Music\u003c/em>\u003c/a> in surround sound instead of blinking lobby lights, Tilson Thomas conducted Monteverdi’s \u003cem>Magnificat\u003c/em>, from \u003cem>Vespro della Beata Vergine\u003c/em>. One of his self-described “desert island” pieces, it fit the room in ways that it wouldn’t have fit at Davies. And as the beauty of the choir’s soloists washed over the crowd, I noticed a spilled drink at Tilson Thomas’ feet, which is just about the best image I can conjure for the working juxtaposition of the night.\u003c/p>\n\u003cp>And how did it feel for Tilson Thomas, test-driving the premiere of SoundBox?\u003c/p>\n\u003cp>“There are a lot of different steps to go through in making something like this happen, and there are times, when you’re in the middle of it, when you think it’s \u003cem>never\u003c/em> going to happen,” the conductor told me, just after stepping from the small, 18-inch high stage and mingling with the crowd. “So it was tremendously rewarding to feel the response of the audience—many of them who’ve probably never heard any of these pieces before—and to have this kind of spontaneous reaction to what classical music really can be.”\u003c/p>\n\u003cfigure id=\"attachment_10217547\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10217547\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/Soundbox.MTT_-800x533.jpg\" alt=\"Michael Tilson Thomas with members of the SF Symphony and Chorus. (Photo: Stefan Cohen)\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/Soundbox.MTT_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/Soundbox.MTT_-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/Soundbox.MTT_.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michael Tilson Thomas with members of the SF Symphony and Chorus. (Photo: Stefan Cohen)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The women of the Oakland-based women’s choral group KITKA (which means “bouquet” in Bulgarian and Macedonian) manage to stand out in the diverse Bay Area choral scene because they offer something slightly more distinctive than your usual classical, jazz or gospel music. The eight-person group employs Balkan, Slavic and Caucasian vocal traditions to produce unique polyphonic music.\u003c/p>\n\u003cp>“[The] common denominator is a passion for this particular style and harmony of singing,” says vocalist Shira Cion, who is also the group’s executive and artistic director. The women sing in extremely close, resonant harmonies characterized by extended vocal techniques and micro-tonal intervals. Think yips and waivers.\u003c/p>\n\u003cp>Here’s the group performing a Bulgarian \u003cem>Koleda\u003c/em>, or Christmas Carol, about the evening star:\u003c/p>\n\u003cp>http://www.youtube.com/watch?v=4E0w1J6xe1k\u003c/p>\n\u003cp>The Bulgarian word for Christmas, \u003cem>Koleda\u003c/em>, has two disputed origins. Some say it stems from the ancient Roman winter solstice Kalendae festival, which is dedicated to the beginning of the solar year. Others say it comes from the word \u003cem>kolo\u003c/em>, which means wheel. Koljada is the name of the Slavic winter god who brought the new sun each day.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Collectively, the members of KITKA can speak passable Bulgarian, Russian, Ukrainian and Yiddish, but they rely on a network of native folk singers, Slavic scholars and a few members of these ethnic communities to provide linguistic support.\u003c/p>\n\u003cp>The music on the album \u003ca href=\"http://www.youtube.com/watch?v=jIQk-t7RP_8\" target=\"_blank\" rel=\"noopener\">\u003cem>Wintersongs\u003c/em>\u003c/a> comes from cross-cultural spiritual traditions that everyone from Earth lovers to the religious can appreciate. The songs are known for their magical fairy tale-like imagery, borrowing equally from pagan, gypsy, Jewish and Christian traditions.\u003c/p>\n\u003cp>One of KITKA’s “wintersongs,” “A v Jerusalim” is a Russian Christmas song about carolers begging for chocolate: \u003cem>“As in Jerusalem, they rang the bells early. Let the Earth rejoice! Let Earth rejoice! The Son of God has been born! I’ll come as a guest to your house on three holidays. The first holiday is Holy Christmas. The second is St. Basil’s Day, and the third is Holy Epiphany. We wish you all health. And with this carol, we ask you for chocolates!”\u003c/em>\u003c/p>\n\u003cp>The group also performs Jewish selections and spiritual songs sung in Yiddish and Hebrew. There are also a few good old-fashioned pagan songs wishing health, wealth, fertility and good luck. “There are songs that we have traced back to pre-Christian caroling traditions when people caroled to celebrate the coming of the winter solstice and the new year,” says Cion.\u003c/p>\n\u003cp>Carolers sang the folk carol “Hubava Milka” to the young unmarried girl of the house:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_iaxZEfaL50\u003c/p>\n\u003cp>\u003cem>“Milka’s mother boasted about Milka: ‘She is so industrious, and very stylish too!’ Milka’s fame spread all the way to Istanbul, to the marketplace, and to Marko the merchant. Marko loaded his boat with silk, silver, and gold thread. Young and old came to see his wares, last of all beautiful Milka. When Milka stepped aboard to buy silk, Marko closed the hatch and sailed away with her.”\u003c/em>\u003c/p>\n\u003cp>And for the young men of the house the Koleda “Carsko Momce Kon Sedlae” uses the imagery of a man mounting his horse with a saddle cinched with grass snake skins, a symbol of household protection and domestic harmony.\u003c/p>\n\u003cp>One of the ways that the women add to their repertoire is by going on “song catching expeditions” about every 3-4 years. Their last trip was in the summer of 2013. They went to Georgia, Armenia, Bulgaria, Ukraine, Poland and Germany. On these expeditions, the women of KITKA travel to rural regions and learn songs from older women. Sometimes they go on joint song catching expeditions with local groups. They also work to develop projects with international collaborators.\u003c/p>\n\u003cp>Here they are on a successful song catching expedition in Georgia where they learned “K’irialesa”:\u003c/p>\n\u003cp>http://www.youtube.com/watch?v=2J3jaG_kmQA\u003c/p>\n\u003cp>As a group, KITKA stays on the humanitarian side of music-making as opposed to the political side, especially when traveling. “We can’t just be starry-eyed Pollyanna,” says Cion. The group’s music originates from a number of countries that are embroiled in intense ethnic and geo-political conflicts.\u003c/p>\n\u003cp>KITKA has been around since 1979 and are celebrating their 35th anniversary this year. The group initially formed as a vocal accompaniment for Bay Area folk music and dance enthusiasts. The women enjoyed themselves so much that they began meeting informally to sing.\u003c/p>\n\u003cp>The group wants to build awareness of this particular choral style. One of the best ways to do that, according to Cion, is through community engagement. “We try to make what we do accessible and get people involved at a participatory level,” she says. For the last four years KITKA has conducted a community sing where members of the audience perform a couple of quick and easy-to-learn songs with the group. “It’s fun because you create an instant choir of 200 voices.”\u003c/p>\n\u003cp>If you love to sing, you won’t want to miss KITKA’s final concert on December 21, which is the winter solstice.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>KITKA will end their \u003cem>Wintersongs\u003c/em> Tour with five Bay Area performances, including the Wintersongs Community Sing at Nile Hall in Oakland. For \u003ca href=\"http://kitka.org/calendar/index.html\" target=\"_blank\" rel=\"noopener\">tickets and more information\u003c/a>, visit kitka.org. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Collectively, the members of KITKA can speak passable Bulgarian, Russian, Ukrainian and Yiddish, but they rely on a network of native folk singers, Slavic scholars and a few members of these ethnic communities to provide linguistic support.\u003c/p>\n\u003cp>The music on the album \u003ca href=\"http://www.youtube.com/watch?v=jIQk-t7RP_8\" target=\"_blank\" rel=\"noopener\">\u003cem>Wintersongs\u003c/em>\u003c/a> comes from cross-cultural spiritual traditions that everyone from Earth lovers to the religious can appreciate. The songs are known for their magical fairy tale-like imagery, borrowing equally from pagan, gypsy, Jewish and Christian traditions.\u003c/p>\n\u003cp>One of KITKA’s “wintersongs,” “A v Jerusalim” is a Russian Christmas song about carolers begging for chocolate: \u003cem>“As in Jerusalem, they rang the bells early. Let the Earth rejoice! Let Earth rejoice! The Son of God has been born! I’ll come as a guest to your house on three holidays. The first holiday is Holy Christmas. The second is St. Basil’s Day, and the third is Holy Epiphany. We wish you all health. And with this carol, we ask you for chocolates!”\u003c/em>\u003c/p>\n\u003cp>The group also performs Jewish selections and spiritual songs sung in Yiddish and Hebrew. There are also a few good old-fashioned pagan songs wishing health, wealth, fertility and good luck. “There are songs that we have traced back to pre-Christian caroling traditions when people caroled to celebrate the coming of the winter solstice and the new year,” says Cion.\u003c/p>\n\u003cp>Carolers sang the folk carol “Hubava Milka” to the young unmarried girl of the house:\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/_iaxZEfaL50'\n title='//www.youtube.com/embed/_iaxZEfaL50'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>“Milka’s mother boasted about Milka: ‘She is so industrious, and very stylish too!’ Milka’s fame spread all the way to Istanbul, to the marketplace, and to Marko the merchant. Marko loaded his boat with silk, silver, and gold thread. Young and old came to see his wares, last of all beautiful Milka. When Milka stepped aboard to buy silk, Marko closed the hatch and sailed away with her.”\u003c/em>\u003c/p>\n\u003cp>And for the young men of the house the Koleda “Carsko Momce Kon Sedlae” uses the imagery of a man mounting his horse with a saddle cinched with grass snake skins, a symbol of household protection and domestic harmony.\u003c/p>\n\u003cp>One of the ways that the women add to their repertoire is by going on “song catching expeditions” about every 3-4 years. Their last trip was in the summer of 2013. They went to Georgia, Armenia, Bulgaria, Ukraine, Poland and Germany. On these expeditions, the women of KITKA travel to rural regions and learn songs from older women. Sometimes they go on joint song catching expeditions with local groups. They also work to develop projects with international collaborators.\u003c/p>\n\u003cp>Here they are on a successful song catching expedition in Georgia where they learned “K’irialesa”:\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/2J3jaG_kmQA'\n title='//www.youtube.com/embed/2J3jaG_kmQA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As a group, KITKA stays on the humanitarian side of music-making as opposed to the political side, especially when traveling. “We can’t just be starry-eyed Pollyanna,” says Cion. The group’s music originates from a number of countries that are embroiled in intense ethnic and geo-political conflicts.\u003c/p>\n\u003cp>KITKA has been around since 1979 and are celebrating their 35th anniversary this year. The group initially formed as a vocal accompaniment for Bay Area folk music and dance enthusiasts. The women enjoyed themselves so much that they began meeting informally to sing.\u003c/p>\n\u003cp>The group wants to build awareness of this particular choral style. One of the best ways to do that, according to Cion, is through community engagement. “We try to make what we do accessible and get people involved at a participatory level,” she says. For the last four years KITKA has conducted a community sing where members of the audience perform a couple of quick and easy-to-learn songs with the group. “It’s fun because you create an instant choir of 200 voices.”\u003c/p>\n\u003cp>If you love to sing, you won’t want to miss KITKA’s final concert on December 21, which is the winter solstice.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>KITKA will end their \u003cem>Wintersongs\u003c/em> Tour with five Bay Area performances, including the Wintersongs Community Sing at Nile Hall in Oakland. For \u003ca href=\"http://kitka.org/calendar/index.html\" target=\"_blank\" rel=\"noopener\">tickets and more information\u003c/a>, visit kitka.org. \u003c/p>\n\n\u003c/div>\u003c/p>",
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},
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"officialWebsiteLink": "/californiareport",
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"order": 8
},
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"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
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},
"link": "https://www.cityarts.net",
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"order": 1
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"source": "Commonwealth Club of California"
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"order": 9
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"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"id": "fresh-air",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"source": "NPR"
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"how-i-built-this": {
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"jerrybrown": {
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
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"id": "latino-usa",
"title": "Latino USA",
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
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"link": "/radio/program/latino-usa",
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"source": "WaitWhat"
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
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"source": "kqed",
"order": 11
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